Asa Butterfield

Asa Butterfield
Asa Maxwell Thornton Farr Butterfield /ˈeɪzə/ AY-zəis a British actor. He began his acting career at the age of 9 in the television drama After Thomasand the comedy film Son of Rambow. He became known for playing the main character Bruno in the Holocaust film The Boy in the Striped Pyjamas, for which he received nominations for the British Independent Film Award and the London Film Critics Circle Award for Young British Performer of the Year at the age of...
NationalityEnglish
ProfessionMovie Actor
Date of Birth1 April 1997
CityIslington, England
When you have a book as material as it is, it's a lot easier to create a character because you have so many resources to draw upon when acting.
When you're younger, you get scripts that you are too young for and now I'm getting scripts, which I think, "I'm too old for this character." They can always shift things around to make it work and make the ages work. But I'm definitely getting more complex and interesting roles and less what you would expect. So I can experiment more and have a bit more freedom when I'm putting things on tape.
I like to keep a broad scope and read lots of different things with lots of different types of characters. Doing that is going to help develop me as an actor; you push yourself.
I always think that trying to push yourself as an actor in a direction that you've never been before, developing characters which are more difficult to get into the head of, or are more interesting and further away from yourself, is always a challenge. But, you want to take up that challenge and try your best.
When you really want a role and you really want a character, you become quite close to the script and the project, and it is sad when it doesn't go your way. But I've found there's always another one, which will be as good if not better. You can't let your failures bring you down when you're an actor, because then you can't get up.
For me, with any character, there are different ways that you approach understanding him, and in this film in particular, because I had the novel to refer to. It's always really helpful to have all of that information and all of those hundreds more words which give you an idea into the background and your character and all.
I think a lot of that is what helped me develop my character. I wouldn't say it was Method, but it was definitely a little more in depth than I've done before in terms of acting. With the other kids, we all were such good friends by the time we started shooting. Because of that, it allowed us to trust each other more to push the dynamics of the relationship to places which you might not be able to had you not trusted that person.
I think it's always difficult no matter how similar your characters are to yourself to get into that mindset, because however much they are similar to you, they're not you.
In terms of my relationships with a lot of the adult characters, when I was working with Harrison, it wasn't like a verbal agreement, but we both understood that because there was this constant tension between our characters, we couldn't say "Cut" and start acting normal. We had to keep an essence of that relationship in our characters off screen which is really important.
People think when you're moving in Zero-G, it's like moving in jelly. But it's not. You're completely free to move however fast as you want.
My little sister, who is four, can work my mom's iPhone better than she can.
It's kind of hard to enjoy the film when you are watching yourself the whole time. But you do get on with it and try and appreciate everything else about the movie. At least that's what I do. It depends on how fresh in my memory the whole experience is.
I can clap really fast. I can beatbox. I can type the alphabet in under 2 seconds. That's probably the one I'm most proud of.
My older movies, I find easier to watch.