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The one consistent character in all of this is Chelsea Green, and that's how people know me, even as all else changes. I can go out and be the hot mess, or go hard in matches or be silly, and that's still all me.
As Laurel Van Ness it's so much fun, and with that comes a creative outlet. You can be who you wanna be and be that particular character. I'm so thankful that Impact allows me to do that.
Two things I do well in books are sex and violence, but I don't want gratuitous sex or violence. The sex and violence are only as graphic as need be. And never included unless it furthers the plot or character development.
When sex is necessary for the plot of a book, or a character development, then I don't shy away from it. Why should I?
In real life, I'm a large character, and I need the space and platform to be large.
Don't worry so much about your self-esteem. Worry more about your character. Integrity is its own reward.
I did 'Shameless' on Showtime, and I felt like I really tried to go super-method with that, and it would just make my days really hard to get in and out of character.
When you get to the point where you know the material so well and you know the character so well that you can just sort of play off of whoever your reader is - that's the best feeling at an audition.
With both novels and short stories, I think a lot in terms of character arcs, when it comes to endings.
I know there are lots of positives in the evolution of technology, but I also think it will be responsible for the end of a unique character, of a specific kind of geographical culture. The world is getting so small, and mass production is getting so big. Everything is in danger of becoming the same.
It's a very strange experience being on set of 'Breaking Bad;' you never know what's coming next for your character. I feel like I don't even know if I'm going to live through the next scene I'm in. It's exciting to work on.
It was sort of that in-between area when people don't talk about their personal lives. That's the kind of life I think Kerry would be living now if it weren't for the Lopez character sort of outing her.
The story line was done in a way that's organic and was doled out very slowly in little bites. We think that's authentic for this character, that her feelings are very deeply buried or she never felt them.
My favorite video game when I was a kid was this game called 'Metroid' and the main character of 'Metroid' was Samus. Samus has this body armor suit, helmet and everything except at the end of the game, the helmet comes off and it was revealed that Samus was actually a woman.
For me to have the opportunity to stay with one character for, God willing, a long period of time, is really exciting.
It's fun to grow with a character over the course of a TV series. Video games are usually a much more condensed process.
You have to have sympathy for and an empathy with a character in order to play them.
No one goes through life thinking that they're the best friend of the lead character.
The only reason I'm ever in character as 'Larry The Cable Guy' is because that's what I'm hired to do. In my movies, obviously they hired 'Larry The Cable Guy' to be 'Larry The Cable Guy.' When I do my shows, I'm 'Larry The Cable Guy.' When I do Jay Leno, it's: 'Please welcome 'Larry The Cable Guy.'
I don't judge people by their accent, or how they word things, or how grammatically correct their speech is. Some of the smartest men in the world couldn't spell. I judge a person by their character.
I've never judged anybody by how they look or how they dress. I basically judge them on their character. And that's how I lead my own life.
Most of my films have a lot of character development and exploration, whereas in most horror movies the characters are just cardboard.
At first, I didn't realize it was gonna be a character. I just thought I was gonna be doing me.
And while I might not always agree with the viewpoint I have to portray, because I play a district attorney, as an actress I can always tell myself that my character is trying to take the moral high ground.
I'm so bored of reading scripts with these wonderfully complex male roles, yet the woman character just sits on the bed waiting for him to come home.
What I look for in a script is the plot point and whether they're strong, obviously, or not, whether the characters are rich or not, and if I can do justice to the character or not. Some movies you look at and the script is so bad that no one can do anything with the script.
I liked watching Rossi, his style, his colours and everything. He was someone I looked up to and until now he is still my only hero. He is the king of motorbikes and most people like Rossi mainly because he comes across as a pretty fun and good character. He is cool and has a good style and look.
On 'Swingtown,' I think that's when I was able to blend the character-slash-leading lady roles, and that's what I'm doing on 'Once Upon a Time' as well. She's a leading lady, but she's also this character.
As I got further into my career, as a character of color, if I was going to have the types of opportunities I felt I deserved, and continue to have them, I was going to have to start creating those opportunities for myself.
It is a rare American who does not have some story about how music has made our lives richer and more interesting, how it has changed our moods, brought out the best in our character and even sometimes helped us earn a living.
Social media really makes it tricky for people sometimes because you go, 'Oh, it's awesome. I'm gonna play this character. I'm going to do this really weird thing on camera,' and then you go back and read all your tweets and go, 'Mmm, well, I guess they didn't like that so much.'
TV becomes easier because you get to spend time with that character. It's going to go on for a while, and the more you know something, the easier it becomes, the less nerves you have about it, and the better it is for improv because you have that camaraderie between cast regulars. In film, it's harder because you got to get in and get out.
I was notorious at NXT for having constant pitches and ideas. I was that girl who would come in every day to Dusty Rhodes with a 10-page pitch for characters and posters of character development.
No, you don't have to start your play with a premise. You can start with a character or an incident, or even a simple thought. This thought or incident grows, and the story slowly unfolds itself. You have time to find your premise in the mass of your material later. The important thing is to find it.
The only way I can be there and really get into the character is if I'm her.
Playing a real-life character is definitely a lot more responsibility than one that is fictionalized.
While it is challenging working with a kid, because they're so of the moment all the time. My acting style is to try to take something from my life that the character can relate to and that I can relate the character to.
Sometimes when you do a part, the wall between you and the characters can be very porous. You can sort of move in and out of your character's persona and being. And that just couldn't happen on this one because of working with him.
I think in this movie, every time I see his work, I'm blown away by it because he, to me, he really embodied the character so powerfully and so real, so truthfully to me.
Integrity is the core of our character. Without integrity, we have a weak foundation upon which to build other Christlike characteristics.
There are no soft or slothful ways to become sanctified to the point that we are prepared to live in the presence of the Savior. And there can be blessings in the burdens we bear. As a result of these struggles, our souls are stretched and our spirits are strengthened. Our character becomes more Christlike as we are tried and tested.
Actors have an unusual perspective on clothing. You've really got to know the impact of what you're wearing on the character you're playing.
I questioned everything. I didn't see a character developed in Platoon at all. The character in Blue Velvet was much more fascinating to me.
When the audience first sees Cooper talking into his tape recorder at the beginning of 'Twin Peaks,' I think that's the greatest introduction to a character I've seen in my career. It tells you everything about the guy right there in a few minutes as well as bringing up a whole load of questions.
Working with animals forces an actor to work harder because you have to be quick when it comes to improvisation, and you can't break character - at all.
It's always exciting to create a character that people can relate to, where people are like, 'Oh, I know this dude,' but maybe you've never actually seen this type of character on TV.
One way I differ from my character, Coach Taylor, is that I never would have taken this faraway job without my wife's consent.
I'm drawn to the classic antihero, the guy who's probably made a bunch of mistakes and really has the capacity to go either way. That's the most interesting type of character for me to watch, to see what decisions they'll make. There's a lot of gray area there for a writer to explore.
The trap in Hamlet is he's the most passive of Shakespeare's characters. He's not a Richard III, not out there taking a lot of action. It's a lot of asides and soliloquies where he's wrapped in angst, and that's not a very interesting character.
When people look back at my career, I want them to see a fierce competitor, but more importantly, I want to be remembered for my consistency of character and the legacy I hope to leave through my First Things First Foundation.
More of him came from my step-dad, who is now passed away. The initial creators of the show kind of based the character on their dads and then I added my dad.
In fact, the fast-changing, dynamic character of London makes perpetual Labour domination unlikely. Things are so fast-moving it would be impossible to say what the situation might look like in five years, let alone 10 or 15.
At one point, I worked up a list of five requirements for a superhero: superpowers, a costume, a code name, a mission, and a milieu. If the character had three out of the five, they were a superhero. But that's just my definition.
You've got to leave the reader with more than just a name and a costume - they need to know who the character is, what they're like, what kind of attitude they have, what sort of role they play.
I created lots of characters in high school and college, and the first character I created in pro comics was Liana, Green Lantern of M'Elu, for a backup story in 'Green Lantern #162,' my first professional sale.
The most fascinating powers don't mean a thing if the guy's poorly motivated or dull, and the most generic powers won't hurt a well-motivated character. Personality and motivation are what make Magneto, Magneto and not Cosmic Boy. The powers work for him, but it's his motivation that makes him the character he is.
Marvel's got a crowded universe, and there are already so many characters hogging the spotlight that it's hard to break through that. First off, whatever character you're creating, odds are, there's already someone similar in one way or another.
You have to change your mind with every orchestra because every orchestra has a different character.
The IBC is a very deep reform. It is almost as deep a reform as GST or demonetisation. It changes the fundamental character of Indian business.
More than the length, it's the meat of the character that is more important. It does not matter if you are on screen, standing in the corner for the whole film, as opposed to doing something that stands out in two scenes.
I really think if you take away a character's obstacles then there's no comedy.
I like to work as much as I can, but I only really have the hiatus to work on other projects. I've kept myself busy recently. I voiced a character in 'Ice Age 4,' which was a lot of fun. I also did another small movie called 'The Scribbler.'
I love Vince McMahon. He came up with the Kurt Angle character. He ran with it, and then I was able to run with it. I thank him for the opportunity he gave me. Vince McMahon was one of my best friends, period.
If I have a goal, then it is to escape from this literalism. I'll never achieve it; in the same way that I'll never manage to describe what really dwells within my character, although I keep on trying.
After writing for TV for a while, I got sort of fed up with all of the cancellations and the volatility in that industry. Also, you're always writing for someone else's character and story, and I really wanted to develop my own.
When I read books, I actually really love imagining whomever I want to in the character's role. I get such vivid pictures on my own that that is a big part of the experience for me.
I just want to portray a very honest character that displays traits that people can truly relate to and can help them - the audience and myself because I learn from the characters as well - help them see themselves in a perspective that is outside of what they know already, and grow from that experience.
Hair and make-up people don't get enough credit for what they do. It's not just making people look good. It's really creating the character.
Being a correspondent on 'The Daily Show' is some combination of doing a character and doing stand-up. It's a juggling act to find a balance between being you and playing a role.
Usually, at the end of a film it's like I've finally gotten to know this person completely, and then we're done. That actually happened on the set of 'Twilight,' and then it happened again on 'New Moon.' Each time my character Bella became a different person, and I got to know that person and take her to the next level.
There are certain things in 'Twilight'... As much as I'm proud of that movie and I do like it, I feel like maybe I brought too much of myself to the character. I feel like I really know Bella now. But most readers feel like they know Bella because it's a first-person narrative.
My voice has a lot of character and kind of doesn't sound like a lot of people's.
There's no one else like Hodor on 'Game of Thrones.' There's no other character with that warmth, humanity, and a little bit of comic relief.
To play this iconic character from this historically wonderful series of books - who wouldn't take that opportunity and be happy about it? I'm happy to be Hodor forever.
One of my favorite things to do is formulate powers for a character, then come up with their corresponding weaknesses and liabilities. And I delight in world-building: melding the supernatural with the natural, then tweaking and polishing until it feels organic.
I would never make up a character who didn't exist or an event that didn't transpire. If you're a real writer, you have other tools in your toolbox to build drama.
There's a certain visual grammar you've got to stick in. For example, if a character has just woken up, draw him in his pajamas with the bed a bit rumpled. Or if he's ill, draw little bottles with red crosses on that immediately communicate medicine, and a box of tissues.
I've got to write about my character every day. I've got to find out where he lives, what bus he catches to school, and stuff like that. You've got to know every little thing about him so when you do it, it feels natural.
I think when you have to train an accent, it just takes you absolutely into another spectrum of the character.
The tenacious character I've possessed since I was a small child propelled me to successfully meet this challenge, and I was able to safely gain acceptance to the university of my choice.
My father is a man of impeccable character who has worked tirelessly for the United Nations for many years. His integrity is beyond reproach.
I do not want to work to stay busy. I want to feel excited and challenged with each character that I portray on-screen.
In theatre, you rehearse for months and then perform. That way, you're totally in-sync with your character, the other characters, and the story.
I don't want people thinking they know me instead of the character. Steve McQueen has loads of stories about him - who knows what's true? But it's great for people to fictionalize rather than know the truth.
In the fairy tale the painting represents the here and now. The book is actually divided into five sections, through which the key character, the muse, leads us.
Illiberal feminists turn simple ideological disagreements, whether about the federal budget or the Second Amendment or anything else, into excuses to engage in character assassination, dismissing their opponents as sexists.
In a novel, you have space to develop a character or a scene. You don't have that luxury in a 700-800-word picture book.
If the anti-Christian agenda will say, 'Here's your identity, you're an evolved amoeba who ought to just go do whatever you want and don't let anybody tell you different,' then they can get you to throw your faith, your character, your courage, and your liberty right out the window.
Faith in God... produces character; character will produce courage, courage to face the challenges of the day.
I come from a theater background, so usually, at the start, you know what happens and where the character goes and everything. But with TV, it's really unpredictable.
There aren't as many roles, and I think there's a lack of openness in casting an Asian character in a leading role or unless they're a stereotype. It's been hard. I've been able to play some non-stereotypical roles, which is great, but I have a lot of Asian actor friends who are struggling.
When I wrote 'Your Republic Is Calling You,' it was Franz Kafka's writing that I had most in mind, and James Joyce's 'Ulysses.' Entirely out of the blue, Kafka's characters receive an order to go somewhere, and when they try to comply, they never quite manage it. Ki-yong in 'Your Republic Is Calling You' is precisely that sort of character.
My character in 'Fresh Meat' is quite prim and tidy, and then I basically had no make-up for the whole shoot of 'Kidnap and Ransom' - apart from a bit of Vaseline to make me look even sweatier!
Whatever it is that I feel, I express it! I am free with my joy, my laughter, my pleasure, my pain, and I am blessed in that way as an actress that I can access those feelings within myself and not be ashamed to show whatever that is that's appropriate for the character.
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