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Shaheed Diwas 2026
Food is a way to explore culture and ground the story in a specific time and place. I still remember the meals and snacks from my first novel, 'Shug': pork chops and applesauce and Coca-Cola and peanuts, which are very Southern. When a character has roots elsewhere, food is a way to connect with home and another culture.
For me, one of the most important things I look for in an actor is whether we can converse. Do we have a similar ability to discuss a character?
I think of setting as almost a character of its own, influencing the other characters in ways they're not even aware of. So much of the success of a good ghost story rides on creating a creepy atmosphere; details of the landscape itself can help create a sense of dread.
I came on to the film with a very happy-go-lucky attitude which I think my character, Charlie, did when she went into the house. I expected it to be good, and then slowly things started to change for us all.
I've never really been a careerist; I've never been able to step back and look at anything in that way. I though this is just what happens. I did take my work very seriously. I loved immersing myself in a character. I loved getting the opportunity to do that. I didn't realize how extraordinary it was, how lucky I was, because I was young.
I want to play a character I've never been before-a crazy serial killer like Charlize Theron in Monster. I'd love to have to shave my head.
But really, for the most part - doing a prequel is great because you do have room to kind of free this character and how they got to where they are instead of being a slave to exactly what the previous actor did.
So I sat down with him and portrayed more the side of the character he needed to see. Which is what I do when I go in for an interview for a part I like. As much as you think you're dealing with creative people, they see you for what your image is out there.
I love performing on stage the most. It's getting that instant reaction from a live audience. There are no boundaries, you can take your character as far as you want to, you can be the craziest person ever.
Oftentimes what happens is that the writer understands one character, but they don't understand the other one, and the other one ends up not being written as well.
When you have to play a character that seems to be a relatively decent person and seems to be like yourself, I think the trick in that kind of character, so that you don't become a cliche, is to find where their weaknesses are.
And as a character, what I found very inspiring about playing Dharma, especially at that time, is that the women on television were more neurotic than they were free. And I thought, this is a rare bird and this is unique on television and I think it's really refreshing.
Yeah, I think the common denominator - and this is probably going to sound like Acting 101 - but the common denominator is belief in the character in the moment.
I just kind of understood it, and I threw my love for others and love for life into the character, and was having a blast. I loved playing Dharma. I loved it!
It was the most pleasurable thing I've ever done, playing this character, and I just remember feeling so at home and so - I don't know, I was just happy - and it just wasn't ever work! It was like a sandbox for me, and I would crack myself up rehearsing.
Sometimes I like to think it would be nice if you just had a character, and your personal life was your personal life. My life is definitely out there, you know?
Yes, it is frustrating to listen to those who foment fear, suspicion and intolerance, who don't know the mistakes of history, and are in the midst of repeating them. Have faith that the character of the American people as a whole is such that, in the end, we will choose not to drink this brand of soiled milk.
Expressing political opinion can be a powerful way to establish a character's voice when writing fiction.
If I were to run for president, then people would debate the pros and cons of what's wrong with me in increasingly aggressive 140 character tweets and Facebook status updates, and, inevitably, everyone would end up fighting.
And from my character's point-of-view in Ravenous, he had been collected by Robert Carlyle's character, he had become infected by this ravenous, cannibalistic power, and he was making the best of it.
Every actor wants to have a character that changes, that has some kind of movement, that gets from point A to point B, that doesn't just supply one note.
The character of Matt LeBlanc in 'Episodes' has some real dark sides, and Matt wasn't afraid to explore those.
When I was growing up, there was a character on TV; there was a character stereotype: it was personified by Mel on 'The Dick Van Dyke Show.'
One of the things that Dostoevsky talks about is that no character is too high to fall and no character is too low to be redeemed. 'Crime and Punishment' began with a person going out and consciously becoming a cold-blooded murderer, and it took 800 pages and an epilogue before the person finally asked for forgiveness.
I just didn't want to get bored playing a character, and that's kind of the benefit of doing films; you've lived with a character for four or five months and that's it, and you walk away from that character and you feel like you told a story.
In any character you do, especially something like 'Watchmen,' if you're gonna do this, you're gonna do this right. I'm fighting for the Comedian every step of the way; there's not even a question, Adrian is a scumbag.
I've done tons of guest spots and in parts where the character invariably dies or is dead.
Basically you come up with the fictional idea and you start writing that story, but then in order to write it and to make it seem real, you sometimes put your own memories in. Even if it's a character that's very different from you.
What I do when I create a character is put in details from all the people I know who might be like that person, and then put in a huge amount of myself.
I see music as an aid. It overcomes my internal editor, especially when the music evokes the character or the mood I'm trying to build.
When you describe a character's dream, it has to be sharper than reality in some way and more meaningful. It has to somehow speak to plot, character, and all the rest.
The beauty of performance for me is finding details with which to betray character.
I never really approach any project or story thinking of themes first or what a certain character 'represents.' Maybe other writers do, but for me, it just starts with the characters and a certain emotion I want to convey. It usually isn't until I get deeper into a book and look back a bit that I start to see the themes, etc.
I think we're so advanced when it comes to watching narrative material. I mean, it's all we do is consume content all day long. So when a character walks onscreen, you immediately start making connections for that character: Is that a good guy? Is that a bad guy?
Actors usually respond to minor aspects of their own character or things that even feel disparate from themselves.
Most actors will tell you this - I don't really know how to connect, empathize with, or make worthy of any revelation a character that doesn't have love in there somewhere, that doesn't have an idealism or an empathy in there somewhere.
'Guild Wars 2' is a wider world in that we have a lot of different mechanics available for storytelling. We have our personal story, the story of you, which is tailored for your character. You answer some basic questions; you make some decisions early on, and that follows through.
Up until college age I was using the typical little-boy dummy that sits on the knee and makes woodpecker jokes. My first original character didn't happen until later, and that was Jose the Jalapeno on a Stick.
I'll come up with an idea for a character, and I'll write some jokes and make sure that that character is going to have some legs to it - that it's really going to work. If I can come up with jokes and material that I think will work, then I make a cheap version of the doll. Achmed started out just being this little plastic toy from the store.
It's nice to play a character that has a soulful, dependent, close relationship. It must mean my character is interesting in some way.
I remember watching TV as a kid, and whenever there was some sort of jeopardy involving the hero, I could reassure myself that they were what I'd call a 'can't-die' character, so everything would be OK.
I don't normally think of a specific actor. I concentrate on the character, and then when we get into pre-production, that's how names come up.
Whether you like Kanye or not, there has been a character assassination against this guy. You don't have to agree with everything he says, but you do have to defend his right to say it.
I only watch 'Ye Hai Mohabbatein' on television. It's my favourite show and I absolutely love the bubbly character of Ruhi.
I believe the most intricate plot won't matter much to readers if they don't care about the characters, especially in a series. So I try to focus hard on making each character, whether villain or hero, have an interesting flaw that readers can relate to.
I gradually work myself into a frenzy as the shoot approaches, while we're choosing the costumes or working with the make-up artist. I'm not so much interested in my character as the film itself.
But I don't think that it's a form of family that I would be comfortable in. I've found a way to this character and this family, but I still believe that a marriage is between two people and not seven or three.
I'm always aiming for some magic in films if I can find a mystical quality either in a song or in a moment or a character's intention.
First, you do a piece of material that begins and ends and has a flow; it's not chopped up as in a film, where in an extreme case you might be doing the last scene of the script the first day that you go to work, and you don't know enough about the character you're playing.
My character in 'Mr. Holland's Opus' was kind of coming of age, learning about a world that was opening up to her.
You have more time to work in movies. My experience with movies is that you have more time to experiment with the character and camera angles and things like that.
I don't like the idea that one hotel could be better than another. In any city, I try to find a hotel that has the identity of that place - Claridge's in London, the Danieli or Cipriani in Venice. In New York, I stay at the Mercer Hotel; it is so much in the character of SoHo.
A man never discloses his own character so clearly as when he describes anothers.
We learn our virtues from our friends who love us; our faults from the enemy who hates us. We cannot easily discover our real character from a friend. He is a mirror, on which the warmth of our breath impedes the clearness of the reflection.
The question I am most often asked is how do I find my ideas? The answer is I don't. Ideas find me. A character in history will suddenly step right out of the past and demand a book. Generally, people don't bother to speak to me unless there's a good chance that I'll take them on.
As a biographer, I try to uncover the adventures and personalities behind each character I research. Once my character and I have reached an understanding, then I begin the detective work reading old books, old letters, old newspapers, and visiting the places where my subject lived. Often I turn up surprises, and of course, I pass them on.
I tell anyone who is willing to listen that auditioning is the hardest part. Once you get the job, you have the job. You can go to work. You learn your lines. You learn your character. With auditioning, you can have five in a week with different people.
It is fortunate to be of high birth, but it is no less so to be of such character that people do not care to know whether you are or are not.
I just think Trump's character and some of his values makes him unfit to lead. For someone like him to be president and in charge of our troops? It's scary, to be honest.
In 'The Smurfs,' I was actually a live action character. So, I was a real person in that movie. But I was working with animated characters, which is very strange because they're off recording their work, and we're kind of reacting to nothing when we're doing the film.
Character and story are suggested by the voice in the words themselves.
In the clubs, it's all out and you can say whatever as the character. TV has standards.
I was shooting a mini-series for Sundance/BBC, called 'Top of the Lake,' that was shot by Jane Campion, who's a beautiful native New Zealander and famous film director. The role I was playing was very intense, and they shaved half my hair off. So, I looked like this post-apocalyptic character.
I love to study people and pick apart what makes a person or character who they are. I never want to get complacent in that.
I read the script first to get the perspective on the whole story, the writing, and how the character I'm auditioning for is talked about by other people or relates to other people; from there, I go into the sides.
Great players are very good technically, but they also have a huge amount of character because, without it, you will never get to see that great technique because it vanishes under pressure.
The main character in the book is usually someone you're identifying with because the story is being told through this person's mind.
I was always a clown. In the eighth grade I won a city speech contest by doing an Eddie Murphy routine. I'm no good at public speaking, but if I can assume a role and speak as that person, then I'm fine. When I had to give a book report, I always did it in character.
I think on 'Third Watch' that I was the comic relief on a lot of that. I mean, I definitely had dark moments, but people tended to think he was funny even if the character himself wasn't having a fun time.
I like doing what I do, but I like having the opportunity to do different things, and obviously comedy would be a fun jump. I've just been lucky enough to stay working. In my case, playing intense roles or playing character roles is something that people will hire me for, but yeah, I'd like somebody to think I'm funny. I guess we all do, right?
I essay a negative or a positive character depending on whether it's a principle role and how much it drives the movie.
I'm trying to figure myself out through my movies. Whether it's big stuff like what we're doing here, or little stuff like, 'Why aren't I happier?' With every film I feel like I'm apologising for something. I feel I'm most successful when I'm looking for something that embarrasses me about my character that I'd like to expose.
Filmmaking is finding a piece of granite and you start to chip away and then you have the shape of a head, the shape of the arm, you can see the shape of the face and the face starts to gather character. You have to find it.
I don't think my spirituality has affected my character. I feel like my character is much more cynical about his beliefs, and I think I have to kind of drop what I believe in order to play him.
One of the fun things as an actor is to find a character that if you were to look up a rap sheet about them, you might say, 'I don't really necessarily want to hang out with this guy' or 'I would never be this kind of guy in my life.' I think it's part of an actor's job to say, 'Maybe you could be.'
An actor doesn't change thought, theme, or mood unless the character does, and the character only does it within the words of the play.
As much as I can act, I don't have anything in me that yearns to be an actor - that sense of needing to be onstage, in costume, in character; that is utterly not interesting to me.
In 'Amalur,' each person believes he has an immutable destiny, one that defines how, and how long, he will live. Until you come along. But of course, your character is the anomaly, somebody who can change both his own fate and the destinies of the people he interacts with. So, naturally, it's up to you to save the world.
I love the idea of playing a character that didn't over think everything. He knows what's in front of him and he has an ability to just say whatever he felt.
People have these ideas of what you're supposed to do to have a career, like play against type, or don't revisit a character. I'm just not that precious.
I wasn't a kid who moved out from Iowa with aspirations of becoming a famous star - I was intrigued by the idea of filmmaking and by the idea of what it would be like to play a character in a movie.
I love the creating part of taking on a character. It is fun to be another person and create what it would be like to be that person.
It begins with the kind of story the writers want to tell. We never sit around in those retreats and say, 'We really need to make a change. Let's change this character.' Or throw a dart at the wall and see what hits. It all begins with story.
You're always trying to do something that, on one hand, honors all those stories, that is still in some way the same character that Stan Lee and Jack Kirby were doing back in the sixties. But, at the same time, you want to be able to tell new stories and not just rehash what's come before.
I'm always more motivated by the pain of a funny character than by what makes him funny.
I've gotten a lot of compliments on the 'Criminal Minds' guy. I guess it's because the look of that character is so different from what people expect of me.
I think you always learn something in every character you play onstage, either personally or creatively.
People are fascinated by evil because it's mysterious and it doesn't seem to have a rationale behind it, and the second you say that Hannibal Lector was abducted as a child and he had to eat his sister or something like that, it becomes immediately mundane. The character becomes mundane.
Andrew has talked about my character being the conscience of the film, the heart of the film.
I was working in Chicago, in theater and in commercials and anything that anybody would let me do. When I moved to L.A., I had made a choice to be a character actor, meaning that I wanted to become somebody else. That's what attracted me to becoming an actor in the first place.
In every character you play, as much as you hate to admit it as an actor, but there's an element of you that you bring to it.
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