I am in awe, in admiration of the man who Gaius Julius Caesar was. I don't actually do him as the man himself. He is maybe a distant relative. It's hard to approach the real man because he is such an awesome icon.
I did a little theatre work after that and the following year I got another part in a television series. Then it was almost to the end of the year before I got more work. That was coming to terms with the reality of the vocation I had chosen.
I don't see a benefit in accepting every single little morsel of work that comes along because I think in essence what you're doing is you're raping yourself really.
I'll need every ounce that I have to drive it through. Film and TV require that energy. Sometimes fight scenes can be pretty intense. When I was shooting "Heaven" it was truly guerrilla film-making.
It was always something I knew I was capable of and from an early age my mother was involved in the film industry. She used to work at a production company. So I was exposed to a renaissance period of films in New Zealand back in the early 80's.
It's such a small industry here you inevitably end up working with the same people over and over again. There are only so many actors to go around, which is good for us.
It's wonderful that people who watch and follow the shows take time to come see us, and I really do appreciate it. I'm quite blown away.
Now I'm this far up the ladder and I've got so much farther to go with what I want to achieve with it.
That is a big danger, losing your inspiration. When I work in film and television I try to do each take a little differently. I never want to do the same thing twice, because then you're not being spontaneous, you're just recreating something.
That's always an interesting concept when you try to make your dream into a reality and you come up against the facts of exactly what it is you're attempting to do.
There's only so much artistic output that I can actually expel at any one given time.
There's only so much you can do until you get on set and see the aesthetics of what you're dealing with. Then you see what the other players are giving to you. It's all about the transfer of energy between different actors.
When I work, I try to eat as much vegetarian as possible. When I do Cupid, I eat vegetarian because I need the energy. I've got those wings on my back.
Karl has stated that he was a big player of video games as a teenager and in his early 20's. He has stated that this influenced him to take a role offered to him in the 2005 film Doom.
Karl has stated that his favorite
Karl is really in to organic foods, and incorporates them in to his diet regularly.
Karl is a huge scifi buff.
In 2004, Karl & co. won the Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture for: The Lord of the Rings: The Return of the King (2003).
In 2000, Karl was nominated for the Film Award for Best Actor for: The Price of Milk (2000).
In 2003, Karl & co. were nominated for the DVDX Award for Best Audio Commentary (New for DVD) for: The Lord of the Rings: The Two Towers (2002).
Karl appeared in
Karl's father was a leather goods manufacturer.
Before filming of the Lord of the Rings films, Karl realized that "Eomer" was a consummate horseman and he was nowhere near that level, so he invested a lot of time learning-six to eight weeks, five days a week, two hours a day. He wanted to get to the point where he could neck reign-hold control of the animal with one hand while leaving the other hand free to wield a sword. He wanted to be so at one with the horse that he wasn't conscious or concerned about what the horse was doing.
Karl had four roles on
Karl reportedly received a $400,000 bonus for his work on The Lord of the Rings trilogy.
As a child, Karl used to write and perform his own skits at school.
Karl has a dog, Ire, who is a black lab.
From February through March 1998, Karl played "Jett Lane" in The Herbal Bed at the Maidment Theatre in Auckland, New Zealand.
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