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It's so much easier for me to get up and be someone else than expressing my own thoughts and feelings. There's definitely something about creating a cloak of a character that helped me deal with my shyness.
When you've got good writing, you can kind of give up all the research, in a way, and start just following the emotional integrity of the journey of your character.
Some authors, when starting a novel, imagine a place first. Others, a character starts taking shape in their head. I start with a hook, a situation, a 'what if.'
It's just so much more exciting to have no limits and to be able to take your character as far as you want or need to get where you want to go.
You bring a little bit of yourself into every character you play. We're multifaceted creatures.
'Dogfight' is my favorite thing I've ever worked on. It's such a special piece, and I'm so close to the character of Rose. I loved doing it every night.
When you are preparing for a role, you have a script to comb through and the writer's help in telling you about the character, and then you can fill in the gaps. When you are doing a cabaret show, it's very personal. You have the opportunity to share parts of yourself with an audience and figure out how you want to connect.
When so-called child's play turns hostile, and a child becomes a victim, it is time to act. Victims of cyberbullying do not choose to participate. Rather than build character, bullying can cause children to become anxious, fearful, unhappy, and even cause them to be physically sick.
There are not that many jobs as an actor where you don't get to know what your character will be doing from episode to episode.
I can act every single day because I love it; it's just so liberating. It might be rare, but there are certain moments when you really don't feel like yourself. When you are in the character so fully, it's the best feeling ever. I so love it. Even if those moments come just once a day or every other day, they are just worth it.
It might be rare, but there are certain moments when you really don't feel like yourself. When you are in the character so fully, it's the best feeling ever. I so love it. Even if those moments come just once a day or every other day, they are just worth it.
Being able to feel free and comfortable in your character's skin is so important.
I think the first thing is don't give up. If you love the craft. If you love being a detective and discovering who a character is and the detail of how they walk and what kind of shoes they wear and what did they do yesterday and what's important to them. I definitely advise actors to learn about the craft.
No matter how much I plan the overall arc of the character, you get there day one on the film and you shooting certain scenes first, and it goes completely different to anything you ever thought of, and then it's done.
Pretty much anything William Shatner is in is great. He's great at playing that 'I'm the only one sane in the world' character.
I love life. I love my friends. I love to eat. Too many things, I love. I am very much an anti-historical character. I am attracted to happy people. Happy people with very grave problems.
'Cloud Atlas' is for everybody. The main character in the movie is humanity.
Working with photographer Mario Testino on Bulgari's 2017 global campaign in Italy was an incredible moment for me. I could see the Vatican from set! I got to play this powerful character during the shoot, and it was such an honor to represent that. My favorite pieces are from the Serpenti collection. It's distinctly Bulgari - very sexy!
My parents read me fairy tales every night and I used to believe I was a fairytale princess, like every young girl. I had all the Disney dressing-up costumes and would play every character.
The journalist in me always loved relating and socialising and connecting with people, but there came a point where I needed to make a decision to stop that being my focus and really focus on acting - an audience are only really going to believe me as a character to an extent if they don't know me as Lily that well.
There's so many different things that you can physically change for a character.
As an actor, you gain weight, you lose weight, you change your hair color, and you make changes physically and emotionally to be able to understand the character.
It's always difficult to say goodbye, especially when one has spent a long time - literally years, in the case of a series - inside a character or two, suffering and celebrating with them.
Fight scenes are very physical for me. Sometimes I require my own body to move through them before I can tell where a character's likely to feel it.
Lil' Kim is my stage name and a character I use when I'm out working my livelihood.
Google is my best friend and my worst enemy. It's fabulous for research, but then it becomes addictive. I'll have a character eating an orange, and next thing I'm Googling types of oranges, I'm visiting chat rooms about oranges, I'm learning the history of the orange.
Friends and family do not believe you write fiction. They truly believe that every word you write is either autobiographical or based on them. I once had a character say that she never wanted to be invited to another children's birthday party, and I never received another children's birthday party invitation ever again.
Acting has always been something I've wanted to get into. I think the best models are actors; you're taking on a character. In that sense, I have been acting for a long time. It didn't seem like a crazy transition.
Acting is a bigger step into modelling in a way. Modelling is easier when you don't look like yourself. When you look like a different person, you feel different. Acting goes deeper into that; you have to move and talk like that character. I love it.
If I'm doing my job as an actor, the audience knows everything I know about the character.
Because I came to acting quite late, I kind of think one of the few attributes that I do have is that I try to be honest with the character, with the writing. I'm not a tricksy actor; I'm not exactly a scenery-chewing kind of actor.
My character's kind of grown up with Katniss. The beginning of the story, they're more or less brother and sister than anything. They're best friends. They've been keeping each other alive. It's a little frustrating, for the character. As the character, not as me.
If we get to shoot the third one, which I'm really hoping we do, the third one's great. There's a big uprising and rebellion, and my character Gale's a big part of that. If we get to shoot that, I'll be very, very pleased.
I always want the audience to identify with my character in some way. I mean, sometimes you'll get characters that aren't very identifiable. Sometimes you can't relate to your character at all. I think it's important to keep the audience interested. But the best advice that I've gotten is to live in the moment.
I love the 'Walking Dead,' but I don't wanna be an actual prominent character on the show. I just wanna be a zombie.
My first time playing a main character was in 'Seventeen Years.' It was directed by famous Sixth Generation director Zhang Yuan, but it wasn't a large commercial film.
Leadership consists not in degrees of technique but in traits of character; it requires moral rather than athletic or intellectual effort, and it imposes on both leader and follower alike the burdens of self-restraint.
These meetings all have excited great attention, and have been of an exceedingly interesting character.
Presumptions of guilt or innocence may sometimes be strengthened or weakened by the place of birth and kind of education and associates a man has grown up with, and good character may at times interpose, and justly save, under suspicion, one who is accused of crime on slight circumstances.
'The Walking Dead' never wants you to get too comfortable with characters and cast members. I think about the time you feel fairly secure with your appreciation of a character is about the time the show will gut-punch you.
Even in a gleefully negative comic, there is optimism, although it's slightly hidden: It comes out through a comic character's sheer tenacity. He keeps going and trying to find some sort of fulfillment regardless of his perpetual failure record. That's a form of hope, a form of optimism. Really hokey I know, but it's true.
Not many people get to play the lead character in a gigantic film and model for Ralph Lauren; it's amazing.
It's been amazing to play a character that's known by so many people, especially because everyone knows at least something about Peter Pan.
When I was about six or seven, I did this character reenactment performance where I read a monologue from 'Peter Pan.' I got into a complete Peter Pan outfit and did a little paragraph from the script - and I ended up winning an award for it.
Stanley Hudson was the embodiment of many workers in America, both male and female. Creating the nuances of the character was fun and challenging in that much of his very being was grounded in his ability to editorialize any given situation, much of the time without uttering a single word.
Mother Firefly is the kind of character I've always wanted to play. She's larger than life, terribly tragic, and capable of a lot of love.
It's one of the most liberating things I experience in writing - letting yourself get rid of a gesture or character or plot point that always nagged, even if you couldn't admit to yourself that it did.
I know that some people work differently, but I have to work from the inside out. It doesn't matter how big the character is, there has to be a truthful core.
I've been a character actress right from the beginning. I was no more like 'Cinderella' in my real life than I was like the neurotic poet in 'Cop.'
In my work, I want to convince people that I'm that character. If they know everything about Lesley Manville - private life, all of that stuff - it doesn't help. So the kind of anonymity I enjoy is key.
I love character actors. If I'm switching channels, and something with Slim Pickens is on, or Walter Brennan, I'm stuck. I have to watch it.
I like to be able to play a character and act out a lot of things which I can't or don't do in my normal everyday life.
I really don't know what I'm doing... I don't. It's terrible. I go in there and I learn how to be like the character and do the best I can, and that's all I really do.
I couldn't deal with playing a character who rides motorcycles and has a leather jacket and is a tough kid, y'know?
The depth and strength of a human character are defined by its moral reserves. People reveal themselves completely only when they are thrown out of the customary conditions of their life, for only then do they have to fall back on their reserves.
It's not something that defines me. I'm not a half-Indian politician or a doctor politician or a gay politician for that matter... it is part of my character, I suppose.
It's fair to say that the policy and character of my government would be, or the government which I lead, would be very different to that of President Trump.
I just gravitate to movies where the mystery is the character himself. Any time you see a trailer of something where somebody is questioning 'Who am I?' I'm hooked.
There is always that thought that you might get stuck with a character. But there's always the notion that every character is always evolving.
Everyone is complicated one way or another. But it's interesting to dig into a complicated character, to try to find that within yourself.
I was such a fan of Aziz. I watched 'Parks and Rec' like every other self-respecting hipster and loved his character so much and just thought he was so interesting.
I've worked in the theater, television, and films. A five-hour TV series is certainly more time than a character I'd be playing in a film.
I try to find what makes even the worst, most despicable character sympathetic at his or her core.
The bottom line always remains the same: What is the basic humanity of the character? How do I make them resonate with the reader?
The most unrealistic thing I've ever read in comics is when some group of characters calls themselves the Brotherhood of Evil or the Masters of Evil. I don't believe any character believes their goals to be truly evil.
In the world of 'Power,' no good deed goes unpunished. I don't really look at it as karma in the world of 'Power.' Whenever any character thinks they're on safe ground, they get the world pulled up from under them.
If you are playing a Hispanic character who has to speak in dialect or in an accent, nail that dialect or accent. When I hear a character that's supposed to be Cuban speaking with a Mexican accent or vice versa, it grates on me and immediately pulls me out of the story.
I personally think 'Power' is much more similar to 'The Sopranos' in that it deals with a character who is leading a double life and wants to become legitimate.
One of the things I love about the character development in 'Power' is Courtney A. Kemp's subversive use of stereotype.
My secret skill, if it even counts as one, is saying really crass things that sometimes end up as dialogue coming from other character's mouths. My inner salty sailor is alive and well - the only problem is most of the writers on our show are just as inappropriate, so at the end of the day, it's hard to tell who came up with the line.
It's always an interesting experience with the 'Saw' films, when a sequel comes out that I didn't have anything to do with, creatively, because here's this idea, this story, and this character that I created for James Wan, but now it doesn't need me anymore.
Always be original. Never duplicate what you've seen another actor do. Be true to the character that you've been given, and the rest will come easy.
I would say that playing this character has caused me to think about a lot of things. He's always questioning himself and trying to get back to something he lost touch with and trying to find forgiveness. Everybody struggles with these things to some extent in their life.
What it made me realize was that a show like this makes people look inside themselves. Because this crew guy isn't sitting there wishing the character would fight back. He's hoping that he would fight back.
It's not my business to think about the business; it's my business to think about the character. Sure, there have been times in my career where I wished I was more popular or more this or more that - but that's just stupid.
I think a project is full of charms if it's a good production or has a character that I'm greedy for.
The TED talk I gave, that gave me another character I didn't know about. I'm not saying the mind of a hero, but a kind of responsibility. Every word I'm speaking, it's not from myself. I'm speaking for and representing the people of communist North Korea.
It's a tough case and the first time Reacher needs to recruit somebody to help him out. He uses a woman he knew in the army she's a fascinating character.
It's always tense when you move a character from a book to the screen. Always tense.
And I tell ya, when I sit in that sound booth and started reading the script and starting to get into the character, man, it's an easy jump for me, because I understand what it's all about.
My buddies all still make fun of me about the whole 'Leprechaun' thing, and I'm proud of that movie. I'm just as proud of that work as I am of anything else that I've done. I feel like where I was in my career at the time, I committed to the character.
A time is marked not so much by ideas that are argued about as by ideas that are taken for granted. The character of an era hangs upon what needs no defense.
Strength of character means the ability to overcome resentment against others, to hide hurt feelings, and to forgive quickly.
You know how sometimes you hear a chord played on an organ and you can feel it vibrating in your bones? Sometimes when I'm writing, I can feel my bones vibrating because I'll have a thought or I'll have a character's voice in my head, and that's when I know I'm on the right track.
I feel defensive about my character because I really love Andrea, and we share the same heart.
When forced to survive in an apocalyptic world, there are some characters that embrace their higher selves with some emerging as natural born leaders, and others succumb to their more base and primal selves and basically transform into savages. It's really a fascinating character study in the exploration of the human psyche.
I was horribly shy all through grade school and high school. But somehow I got up the nerve to audition for one play in high school - 'Auntie Mame.' I got a small part as the fiancee who comes on in the end. I got laughs. I wasn't shy at all doing the part. I can do anything on stage and write it off as a character.
Life is the most versatile thing under the sun; and in the pursuit of life and character the author who works in a groove works in blinkers.
When you're a young man, Macbeth is a character part. When you're older, it's a straight part.
It's really fun to play a character that fights back and say what she means.
I've never been able to write narrative as a character, really. Jenny Lewis, I love her stuff, I love that she can weave these American Gothic fairytales. I feel like I sound inauthentic when I do that, so I tend to write from a personal standpoint.
I'm a huge fan, and I didn't grow up with it, I didn't grow up reading 'X-Men' comics. I became a huge fan; I had somebody in my company who gave me the biographies of all the characters. I read Logan's first and was like, 'What a great, tragic character.' I just loved him.
Nobody can ever describe how much you explore a character on a Peter Berg movie until you're doing it.
Bigger stories are made out of longer acquaintance with fact and character, but I also love the tiny stories in which almost everything has to be inferred and imagined.
When I sit down to write a scene, I have a plan in mind, and I'm thrilled when a character disregards my goals and takes the story to a place I hadn't imagined.
At some point, I fell in love. Shortly thereafter, I got my heart broken. Sniff, sniff. And I realized at a young age - no matter what any adult literary critic would have us believe about female strength and autonomy - there is no test to strength of character like love.
It's worth pointing out that no one faults a male protagonist for falling in love. What is it about a boy needing a girl that seems to round out his character, while a girl needing a boy can be dismissed as pathetic?
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