"That is a big danger, losing your inspiration. When I work in film and television I try to do each take a little differently. I never want to do the same thing twice, because then you're not being spontaneous, you're just recreating something"
About this Quote
Urban is talking like an actor who’s learned the hard way that the camera can turn “craft” into a loop. On a set, repetition is the default setting: marks to hit, eyelines to match, continuity to protect, a schedule that rewards predictability. His warning about “losing your inspiration” isn’t romantic hand-wringing; it’s a professional diagnosis. The danger isn’t that you stop feeling things. It’s that you start manufacturing the feeling you already proved you can deliver, and everyone around you quietly applauds the efficiency.
The insistence on doing each take “a little differently” is less about improvisation than about preserving risk. Screen acting, especially in the film-and-TV grind, can become a museum of your own best choices: you find the “right” version in take two, then spend take three through ten embalming it. Urban’s word choice makes the subtext clear: “recreating something” is acting as photocopy, not presence. Spontaneity here isn’t chaos; it’s aliveness, the sense that the character is arriving in real time instead of reciting a previously approved performance.
There’s also a quiet nod to collaboration. Directors and editors need options; variation is generosity. Giving slightly different shades lets the scene evolve in the cut, and it keeps scene partners listening instead of anticipating. Urban frames inspiration as something you can lose, but his method treats it as something you can engineer: not by chasing “bigger” emotions, but by refusing to let the work calcify into a repeatable product.
The insistence on doing each take “a little differently” is less about improvisation than about preserving risk. Screen acting, especially in the film-and-TV grind, can become a museum of your own best choices: you find the “right” version in take two, then spend take three through ten embalming it. Urban’s word choice makes the subtext clear: “recreating something” is acting as photocopy, not presence. Spontaneity here isn’t chaos; it’s aliveness, the sense that the character is arriving in real time instead of reciting a previously approved performance.
There’s also a quiet nod to collaboration. Directors and editors need options; variation is generosity. Giving slightly different shades lets the scene evolve in the cut, and it keeps scene partners listening instead of anticipating. Urban frames inspiration as something you can lose, but his method treats it as something you can engineer: not by chasing “bigger” emotions, but by refusing to let the work calcify into a repeatable product.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
More Quotes by Karl
Add to List

