"To me that's part of my working day, and I would never refuse a job where I'm under several hours of makeup, because as an actor, I enjoy performing. It's about the creation of the character and the art to me, not about being comfortable and how long it all takes"
About this Quote
Warwick Davis is quietly dismantling the diva mythology here, and he does it with the most actorly flex imaginable: discipline framed as joy. Hours in a makeup chair, in his telling, aren’t an obstacle to the “real” work; they are the work. That reframing matters because it drags glamour back down to craft. In an industry that sells ease and natural charisma, Davis insists on the unphotogenic truth: performance is often built on discomfort, repetition, and patience.
The subtext is a defense of transformation as a moral stance. “Creation of the character” isn’t just artsy phrasing; it’s a declaration that the self is not the product. He’s pushing against a celebrity culture that rewards actors for being recognizable, accessible, and perpetually “themselves.” Davis’s career - much of it in heavy prosthetics, costume, and fantasy worlds - makes this more than abstract principle. He’s speaking from a body of work where the audience frequently can’t rely on his face to do the storytelling. That forces attention onto voice, physicality, timing: the old-school tools.
There’s also an implied rebuke to complaints about conditions that, while real, can easily slide into entitlement. Davis doesn’t romanticize suffering; he simply refuses to treat comfort as the metric of artistic seriousness. The quote lands because it turns a potentially miserable production reality into a statement of agency: the chair doesn’t trap him; it’s his chosen portal into character.
The subtext is a defense of transformation as a moral stance. “Creation of the character” isn’t just artsy phrasing; it’s a declaration that the self is not the product. He’s pushing against a celebrity culture that rewards actors for being recognizable, accessible, and perpetually “themselves.” Davis’s career - much of it in heavy prosthetics, costume, and fantasy worlds - makes this more than abstract principle. He’s speaking from a body of work where the audience frequently can’t rely on his face to do the storytelling. That forces attention onto voice, physicality, timing: the old-school tools.
There’s also an implied rebuke to complaints about conditions that, while real, can easily slide into entitlement. Davis doesn’t romanticize suffering; he simply refuses to treat comfort as the metric of artistic seriousness. The quote lands because it turns a potentially miserable production reality into a statement of agency: the chair doesn’t trap him; it’s his chosen portal into character.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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