"When you have to get into the character each morning, give it your voice, your face, it was torture"
About this Quote
Acting is often sold as glamour, but Abril yanks the mask off and shows the bruises underneath. “When you have to get into the character each morning” turns performance into a daily commute to someone else’s life: repetitive, compulsory, and physically scheduled. The phrase “have to” matters. This isn’t inspiration striking; it’s labor with a timecard. Then she sharpens it: “give it your voice, your face.” Those aren’t tools you pick up and set down. They’re the core identifiers you use to move through the world. By listing them plainly, she frames acting as a kind of controlled self-erasure, where the raw materials are not props but your own body and social identity.
“It was torture” lands hard because it refuses the usual romantic language of sacrifice. Torture implies coercion, endurance, and aftermath. The subtext is a warning about the psychological violence of certain roles, certain directors, certain eras of filmmaking that demanded total access to an actor’s instrument without always providing protection or recovery. Coming from Victoria Abril, whose career spans the emotionally high-wire, frequently transgressive cinema of post-Franco Spain (including intense collaborations with auteurs who love risk), it reads like a quiet invoice for what that artistic freedom cost.
Her line also punctures the myth that transformation is purely empowering. Sometimes the character doesn’t expand you; it occupies you. The “morning” detail hints at the dread of repetition: not one harrowing scene, but the grind of becoming someone else again and again, until your own voice starts to feel borrowed.
“It was torture” lands hard because it refuses the usual romantic language of sacrifice. Torture implies coercion, endurance, and aftermath. The subtext is a warning about the psychological violence of certain roles, certain directors, certain eras of filmmaking that demanded total access to an actor’s instrument without always providing protection or recovery. Coming from Victoria Abril, whose career spans the emotionally high-wire, frequently transgressive cinema of post-Franco Spain (including intense collaborations with auteurs who love risk), it reads like a quiet invoice for what that artistic freedom cost.
Her line also punctures the myth that transformation is purely empowering. Sometimes the character doesn’t expand you; it occupies you. The “morning” detail hints at the dread of repetition: not one harrowing scene, but the grind of becoming someone else again and again, until your own voice starts to feel borrowed.
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