"I think that each character has fascinated and interested me enough to want to play him"
About this Quote
Jacobi’s line reads like modest shop talk, but it’s really a manifesto for a certain kind of acting: the refusal to treat roles as trophies. “Fascinated” is the key tell. He’s not claiming moral alignment with the characters, or even admiration; he’s describing curiosity as the engine. That’s a quietly radical stance in a celebrity culture that likes its performers legible and its casting “aspirational.” Jacobi frames the work as an ongoing seduction by the strange.
The phrasing also carries a veteran’s discipline. “Interested me enough” implies a threshold test: the role must earn him. That’s the subtext of a long career built on craft rather than brand. He isn’t chasing relevance; he’s chasing complexity. In an era when actors are often expected to be public avatars of their parts, Jacobi’s emphasis on fascination keeps the spotlight on the interior labor: research, voice, gesture, the painstaking act of making a person feel specific.
There’s a democratic undertone, too. “Each character” suggests an egalitarian appetite for humanity, not just the prestige leads. It’s a way of granting even villains, oddballs, and historical monsters the dignity of attention - not exoneration, attention. That distinction matters. Jacobi’s intent is to defend the actor’s right to inhabit without endorsing, to explore without preaching.
Contextually, coming from a classically trained British actor associated with stage rigor and psychological detail, the line signals allegiance to repertory values: transformation over exposure, inquiry over confession. It’s a reminder that the most compelling performances often start not with self-expression, but with being productively haunted by someone else.
The phrasing also carries a veteran’s discipline. “Interested me enough” implies a threshold test: the role must earn him. That’s the subtext of a long career built on craft rather than brand. He isn’t chasing relevance; he’s chasing complexity. In an era when actors are often expected to be public avatars of their parts, Jacobi’s emphasis on fascination keeps the spotlight on the interior labor: research, voice, gesture, the painstaking act of making a person feel specific.
There’s a democratic undertone, too. “Each character” suggests an egalitarian appetite for humanity, not just the prestige leads. It’s a way of granting even villains, oddballs, and historical monsters the dignity of attention - not exoneration, attention. That distinction matters. Jacobi’s intent is to defend the actor’s right to inhabit without endorsing, to explore without preaching.
Contextually, coming from a classically trained British actor associated with stage rigor and psychological detail, the line signals allegiance to repertory values: transformation over exposure, inquiry over confession. It’s a reminder that the most compelling performances often start not with self-expression, but with being productively haunted by someone else.
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