In an in-depth conversation for FCASA.com, film critic Stephen “Spling” Aspeling sat down with veteran South African actor and broadcaster Maurice Carpede (The Trek, Inside Out, Generations, Chappie, Arendsvlei).
Carpede shares actionable insights into character immersion without emotional burnout, navigating high-stakes linguistic challenges on set and why understanding the story as a whole trumps rigid line recitation.
The Craft of Empathy: “Get In, Get Out”
Many performers rely on emotional recall, pulling from personal grief to summon tears or fury. Carpede advocates for radical presence over self-indulgent excavation – feeling the scene from the character’s reality, then releasing it the instant the director cuts.
“I always try not to include anything of myself in characters. I find it feels like I’m exposing myself… What I try to do is find the circumstances of the character: What was the character going through in that moment? It’s not like I’m thinking of my grandfather that passed away many years ago, and that makes me sad now. No. I immerse myself in the character and I feel what that character is feeling… But one thing I’ve learned over the years is: get in, get out. Centre yourself, get in deep, get in hard. When the director says cut, get out. I’m not going to stay in that character’s mind all the time, otherwise I’ll go crazy.”
Story Over Dialogue: The Power of Context and Composure
Whether mastering the click-heavy !Xun language for period pieces or translating scenes in real time under pressure, Carpede insists that a deep grasp of dramatic context frees the actor from being chained to the page.
“A lot of actors just do lines, man. They’re not immersing themselves in the character. But if you really know what this story is about, you should switch easily and just tell the story. If I know the story well enough, I can tell it to you in any language. If you understand the scene and know the context, it’s not just about delivering lines – it’s just telling the story.”
When faced with a sudden language switch on set with no translated script available, he leaned on narrative intent:
“I said, ‘Just give me 10 minutes.’ Read through the script, translated it for myself in my head, and I’m like, ‘Okay, let’s shoot.’ It’s about composure. If it’s in you, it’s in you.”
Collaboration and Professional Decorum
Filmmaking in South Africa often demands extreme physical resilience – from freezing Karoo nights in minimalist wardrobe to abrupt location storms. Carpede’s baseline rule for any cast or crew dynamic is straightforward:
“Leave your shit behind. When you work, you work. You’re on screen, you’re on camera, you’re on stage, you’re a professional. What matters is this production. Whether you like me or you don’t like me, we have a responsibility to make this thing a success… How you feel, how you slept last night, whether you’re cold or warm right now, it’s irrelevant. We’ve got a common goal.”
Directing and the Danger of “Pretty Shots”
Having worked across both local micro-budgets and major international studio productions, Carpede highlights the critical line between visual indulgence and narrative propulsion.
“It’s very dangerous for directors sometimes, because they tend to look at: What does a shot look like? ‘Oh man, it’s so pretty, that looks so good, I’m going to use that take.’ But does it tell the story? Does it help enhance the story? If it doesn’t, chuck it away! It’s window dressing.”