William Jackson Harper

yeah i mean it's uh like i i was thinking about because i find myself getting often very uh I don't know, frustrated is not the word, but I don't get the same fulfillment working on camera as I do working on stage.

And it's not some, like, this is real acting shit.

None of that.

It's just, it feels like, for me, working on camera is more like, you know, everyone working behind the scenes is the witch and we're the cauldron.

Yeah.

And it feels more like I get to be the witch when I'm working on stage.

That's a great analogy.

You know? Yeah.

And so it's, and you know, you just do little tiny bits all the time.

And so it's, you know, the runway into some sort of like really like sinking into the characters, it's a lot shorter.

So when people are really good on camera, it blows my mind.

Cause

I'm, I don't know how you do that with, you have two pages and you're gonna do it from all these different angles, you're gonna do little pieces, you're gonna do, and so when someone's just locked in on camera, I'm like, man, it's like the conditions are not conducive to an actor being creative.

But they found a way to actually do it.

And the theater's just a little bit more like it's, you know, no one's there.

You're working with your cast mates, you're working with your director and the writer, and you're just trying stuff without having to, you know, and you're doing long swaths of text, you know, and Like you mess up a moment, you mess up a moment.

Another one will come later.

You know, you're just sort of riding the wave and you're doing it over and over and over again.

And then eventually you lock in.

And it's so, when you take all of that sort of preamble that you get in theater, and you just have to jump right in when you're working on a camera, it's tough.

So when someone's really good, I'm like, how, how did they do it? How did that? It's almost like when it feels

spontaneous, I'm like, like a trick, almost like a card trick.

Yeah.