"It is always more fun to play a bad guy than to be yourself as you can create a character unlike your own and be someone you are not for a change"
About this Quote
There is a sly confession in Richard Kiel's line: acting, at its best, is less about self-expression than self-escape. Coming from the man who embodied Jaws - the towering Bond henchman whose menace was equal parts physicality and oddball charm - the quote lands as a backstage truth about the machinery of stardom. Audiences want the villain because the villain gets to do things the hero can't: take up space, break rules, chew scenery. For an actor, that freedom isn't just fun; it's oxygen.
The intent is practical and almost tender. Kiel frames "playing a bad guy" as permission to experiment, to stretch beyond the social contract that governs everyday life. The subtext: being "yourself" can feel like a role with tighter blocking. Off-camera, especially for performers whose bodies or faces have been typecast, "yourself" often comes pre-scripted by public expectation. A bad guy, paradoxically, offers a wider emotional palette: arrogance, delight, cruelty, mischief - feelings polite life edits out.
Context matters, too. Kiel's career unfolded in an era when supporting players were frequently reduced to a single trait: tough, scary, unusual. He flips that limitation into a creative advantage. The villain isn't merely a moral opposite; he's an imaginative loophole. In a culture that demands likability, Kiel is quietly praising the liberating art of being unlikable on purpose.
The intent is practical and almost tender. Kiel frames "playing a bad guy" as permission to experiment, to stretch beyond the social contract that governs everyday life. The subtext: being "yourself" can feel like a role with tighter blocking. Off-camera, especially for performers whose bodies or faces have been typecast, "yourself" often comes pre-scripted by public expectation. A bad guy, paradoxically, offers a wider emotional palette: arrogance, delight, cruelty, mischief - feelings polite life edits out.
Context matters, too. Kiel's career unfolded in an era when supporting players were frequently reduced to a single trait: tough, scary, unusual. He flips that limitation into a creative advantage. The villain isn't merely a moral opposite; he's an imaginative loophole. In a culture that demands likability, Kiel is quietly praising the liberating art of being unlikable on purpose.
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