Iago Manipulation Quotes

She's not sensual. She doesn't want affairs. It's just cold-blooded experiment on her part and the fun of stirring people up and setting them against each other. She dabbled in that too. She's the sort of woman who's never had a row with anyone in her life--but rows always happen where she is! She makes them happen. She's kind of female Iago. She must have drama. But she doesn't want to be involved herself. She's always outside pulling strings--looking on--enjoying it!

Arise black vengeance, from thy hollow hell!

When I’m given a role, the first thing I do is read the play over and over again. I scour the script and write down everything the character says about himself and everything that everyone else says about him. I immerse myself in my character and imagine what it might be like to be that person. When I played Cassio in Othello I imagined what it would be like to be a lieutenant in the Venetian navy in 1604. I sat down with Ewan McGregor and Chiwetel Ejiofor and together we decided that Othello, Iago and Cassio had soldiery in their bones. I took from the script that Cassio was talented and ambitious, with no emotional or physical guard - and that’s how I played the part. For me, acting is about recreating the circumstances that would make me feel how my character is feeling. In the dressing room, I practise recreating those circumstances in my head and I try to not get in the way of myself. For example, in act two of Othello, when Cassio is manipulated to fight Roderigo and loses his rank, some nights I would burst into tears; other nights I wouldn’t but I would still feel the same emotion, night after night. Just as in life, the way we respond to catastrophe or death will be different every time because the process is unconscious. By comparison, in Chekhov’s Ivanov I played the young doctor, Lvov. Lvov was described as “a prig and a bigot … uprightness in boots … tiresome … completely sincere”. His emotions were locked away. I worked around the key phrase: “Forgive me, I’m going to tell you plainly.” I practised speaking gravely and sincerely without emotion and I actually noticed how that carried over into my personal life: when I played the open-hearted Cassio, I felt really free; when I played the pent-up Lvov, I felt a real need to release myself from the shackles of that character. It’s exhilarating to act out the emotions of a character - it’s a bit like being a child again. You flex the same muscles that you did when you pretended to be a cowboy or a policeman: acting is a grown-up version of that with more subtlety and detail. You’re responding with real emotions to imaginary situations. When I’m in a production I never have a day when I haven’t laughed, cried or screamed. There are times when I wake up stiff from emotional exhaustion. Film is a much more intimate and thoughtful medium than theatre because of the proximity of the camera. The camera can read your thoughts. On stage, if you have a moment of vulnerability you can hide it from the other actors; on film, the camera will see you feel that emotion and try to suppress it. Similarly, if you’re pretending to feel something that isn’t there, it won’t be believable.

She is innocent! Why is it so easy to believe she would betray him?” I was truly appalled. Samuel looked up at me calmly and replied, “Because it’s always easier to believe the worst.” I looked at him in disbelief. “It is not!” I sputtered. “I can’t believe you would say that! Wouldn’t you give the benefit of the doubt to someone you claimed to love?” The ease in which Othello accepted her betrayal was completely foreign to me. “And why would Othello believe Iago over Desdemona? I don’t care how honest they think Iago is! Emilia even told Othello she thought he was being manipulated and tricked!” Samuel sighed and tried to read to the end of the scene. I jumped in again. I couldn’t help it. My sense of outrage was on overdrive. “But he said, ‘I loved not wisely, but too well!’” I was dismayed. “He had it totally backwards! He did love wisely-she was worthy of his love…she was a wise choice! But he didn’t love well enough! If he had loved Desdemona more, trusted her more, Iago wouldn’t have been able to divide them.” I longed once again for Jane Eyre, where righteousness and principle won out in the end. Jane got her man, and she did it with style. Desdemona got her man, and he smothered her.

My husband knew Iago was lying, manipulating, sabotaging. So why did he act on obvious deceit? Brotherhood. The quiet approval beamed from one male eye to another. Bright, tight, camaraderie. Like-mindedness born of the exchange of musk; the buck’s regard of the doe; the mild contempt following her capture. The wide, wild celebrity men find with each other cannot compete with the narrow comfort of a wife. Romance is always overshadowed by brawn. The language of love is trivial compared to the hidden language of men that lies underneath the secret language they speak in public. But real love, the love of an Amazon, is not based on pretty language or the secret sharing between males.