"I think if you play a character that is fearless, then it's boring. I think that's what was so incredible about Harrison Ford, is that he always seemed like he was never going to survive it, he's always scared, and yet he always does survive it somehow"
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Fearlessness is a dead end on screen because it evacuates the one thing an audience can actually share with a hero: the risk of embarrassment, pain, failure. Oded Fehr is making an actor’s argument that doubles as a cultural one. We don’t bond with competence; we bond with the visible cost of action. A “fearless” character is basically a finished product, a brand mascot for bravado. There’s no room for tension because the performance can’t leak doubt.
Fehr’s praise of Harrison Ford pins down why Ford’s star persona landed so hard across the late-70s and 80s: he played icons who never looked comfortable being icons. Indiana Jones and Han Solo don’t radiate invulnerability; they sweat, grimace, bargain, improvise. Ford’s genius is that he performs fear as information. You can read the calculations behind his eyes: How bad will this hurt? What’s the fastest exit? That micro-panicked humanity makes the set pieces feel earned rather than preordained.
The subtext is a quiet critique of modern action storytelling that confuses “strong” with “unbothered.” Fehr is arguing for bravery, not bravado: courage as the decision to move while your body is telling you not to. “He always does survive it somehow” is doing a lot of work here. The “somehow” preserves uncertainty even in a genre built on inevitability, keeping the hero from turning into a machine and the audience from checking out.
Fehr’s praise of Harrison Ford pins down why Ford’s star persona landed so hard across the late-70s and 80s: he played icons who never looked comfortable being icons. Indiana Jones and Han Solo don’t radiate invulnerability; they sweat, grimace, bargain, improvise. Ford’s genius is that he performs fear as information. You can read the calculations behind his eyes: How bad will this hurt? What’s the fastest exit? That micro-panicked humanity makes the set pieces feel earned rather than preordained.
The subtext is a quiet critique of modern action storytelling that confuses “strong” with “unbothered.” Fehr is arguing for bravery, not bravado: courage as the decision to move while your body is telling you not to. “He always does survive it somehow” is doing a lot of work here. The “somehow” preserves uncertainty even in a genre built on inevitability, keeping the hero from turning into a machine and the audience from checking out.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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