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[In The Invisible Woman] was a different type of performance which was less driven by improv. You always want moments of freshness and newness, but there was less so than I've done before.

Felicity Jones

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Felicity Jones
Age: 41
Born: 1983
Born: October 17
Actor
Actress
Child Actor
Executive Producer
Film Actor
Voice Actor
Birmingham
West Midlands
Felicity Rose Hadley Jones
Always
Performances
Driven
Type
Less
Newness
Woman
Improv
Moments
Freshness
Done
Performance
Different
Invisible

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I always had a very strong sense of independence. I really liked being able to buy my Alanis Morissette Jagged Little Pill album. I wore that as a badge of honor. I love not having to rely on anyone.
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I'm not a huge jewelry fan.
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I'm a real geek. I love spending time researching a character and reading about them.
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I think that when something happens when you're growing up, like a death or divorce, it does open the world slightly because things aren't as straightforward.
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There's so much of a desire in the entertainment industry for newness, a desire to build somebody up and then treat them as old news within six months. I think you'd be naive if you didn't try to hold on to your own way of doing things.
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Now younger actresses will have a confidence in those discussions with their agents and be able to say, Can we make sure that I'm being paid the right amount for the work that I'm doing?
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We live in a time where it's more surprising if people are actually together than if they're having affairs.
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I couldn't do what I do without my friends and family.
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It was amazing how much rehearsal helped with the performance - it was almost a theatrical approach to filmmaking.
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But for everyone, I think, there is always a pressure to conform, and I guess as you get older you realize it's less interesting to do that. It starts with you, though, saying, 'I know what I like doing and that's what I'm going to do.
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I've done a lot of very low-budget indie films, so it was just really exciting and fun to be doing a film where there's a lot more time and these huge, vast sets. I was like a kid in a playground. It was amazing!
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When you're believing in the person that you're playing, you feel protected. It's about being true to that person you're playing.
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I've done quite a lot of improv work before, and I wanted to do this film [The Invisible Woman] because it felt like a different technique. We were very true to the lines, and there was something quite formal and almost theatrical about it.
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You have to be brave and not always play likeable people. It's difficult, because there's a demand for the hero or heroine to be very likeable.
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Those moments when you don't feel self-conscious, when you escape that, are when you produce something meaningful.
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Fashion choices are never arbitrary. Even if you say you don't care, that's a decision. There's something you're trying to say.
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I think, as an actor, you're always traveling. There's a sense of dislocation sometimes from home.
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Most of the time I was in the background. I never played [the Virgin] Mary. I was always kind of the third angel.
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A lot of my time is spent watching films and reading scripts. And it can be all-consuming. And it's obviously something I'm fortunate that is both my work and my hobby. It's what I would naturally be doing anyway.
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It was lucky that Ralph [Fiennes] is someone who understands both film and theater and we were able to understand that scene so well before we took it to the set.
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