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Shaheed Diwas 2026
I never go into a scene - ever, ever, ever - thinking, I have to make myself more empathetic toward the audience. Once you start doing that, you get into really dangerous territory. I think you start to become kind of untrue to the character.
There was a best-selling book in the late '60s and '70s called 'The Adventurers' by Harold Robbins. The lead character's name was Dax. Anyone that's roughly my age that's named Dax is named from that book.
The thing I liked most about 'Lois & Clark,' we were a fun show. Some of the later 'Superman' stuff is so dark, but I prefer 'Superman' to be a character of light and hope. I prefer the lighter romance and humor.
Kurt Russell is the guy you know. He's not something out of a weight-lifting magazine or a cartoon character. The closest thing to him would have been Steve McQueen.
The joy of 'The X-files' is how it plays on so many different realities never knowing what is the truth and what is the deception. So my approach to my character has always been that we are alive and have always been alive and were never 'killed off' but held a fake funeral in 'Jump the Shark' to get the heat off of us.
I love it and it is a blessing to be able to have seventy-five to eighty episodes to develop a character and find your voice. You have a similar through voice, and yet you are making different decisions, and so you act differently and you make different choices, as that is what your character would do.
Sometimes, if you leave yourself open, an actor can bring nice nuances to a character.
I'd play the same character for ten years if the words and the moments that I'm playing are authentic.
There wasn't a single good character in 'Titanic' who was English and this is typical.
I think you have to find the humanity in the character and then the deterioration is a part of the process - the journey of the character. It's like playing King Lear. You can start off as a nice old man who finishes up crazy.
Well you just have to own it, I suppose. Own the character, which is difficult.
Some people have heard of The Method, which originally goes back to Stanislavski... he gave you six major pointers whereby you became that character and tried to fool your mind psychologically. That's it in a nutshell. Daniel Day Lewis is an example of somebody like that who stays in character between takes.
There's different ways of getting into character. There's what's called 'the outside,' in which is finding the physicality of the character first. To give an example, in 'Gettin' Square' - Johnny Spitieri - that's how I found that character. I knew those people that I'd seen up at Kings Cross. I knew how they sounded.
When you're creating a character out of nothing, you have to make all the guesses as to how they walk, how they talk, how they think. It was all there on the table for us to pick and choose for Murrow.
I've always been short and stocky. So when I got into repertory theatre after graduation, I found myself doing character roles: because of my deep voice, shape and height, I was playing 40-year-old, 50-year-old roles at the age of 23.
When I was 18 and not sure whether I wanted to be an actor, I realised that a playwright has no voice without an actor. That's my reason for acting: to get that character as right as possible for my writer. And I have never changed my philosophy.
I'd love to be remembered as a character actor who brought illumination to roles in wonderful plays and who delivered performances that made people think and rethink those roles.
Unlike other enduring characters such as 'Sherlock Holmes' or 'Tarzan,' being the 'Doctor' allows you a certain freedom that is both very demanding and very thrilling. It allows you to make the character using elements of yourself.
The Doctor' is the kind of character - because the guest cast is changing all the time, there are very few constants in the show, so the 'Doctor'- when you're there, you're in it a lot. You're speaking a lot.
I often draw from people in my own experience to base a character on, going back to my days with Mike Leigh.
Good humor isn't a trait of character, it is an art which requires practice.
I don't think they knew exactly where they were going with the character, but they lay those stories out ahead of time, so they had some idea where they wanted it to go.
There is an inalienable law. Whenever a character on screen pities himself, the audience stops pitying him. They will cry so long as the character doesn't.
I just totally do not believe in this sort of Bart Simpson character who infects so much of our literature and film and TV stuff nowadays, these know-it-all kids who seem to understand the hypocrisy of the adult world so thoroughly and can talk about it with such articulateness. That's bunk.
I think Wonder Woman is a very difficult character to crack. More difficult than Superman, who is also more difficult than Batman. Also, a lot of people in Hollywood believe that it's hard to do a big action movie with a female lead. I happen to disagree with that.
Superman has evolved continually in the comic books over the course of 75 years. He couldn't even fly for years in the original comic books. Kryptonite wasn't added until the '60s. All sorts of things like this. If a character is going to remain vital, he does have to change with the times.
I will say that adapting a character like Da Vinci really wasn't that dissimilar from doing Batman or Superman. Because all three of these guys are really iconic figures, and yes, Da Vinci was historical, but there's clearly been a lot of mythmaking about him, and a lot of things have been attributed to him that may or may not have happened.
There's a theory in gameplay, particularly in first person shooters, that sometimes you don't want to have that much of a character because then it destroys the experience of the player being that character.
The thing about 'Batman Begins' is that he's a character that people thought they knew a lot about, and yet you're able to identify the spirit in his life where even in the comic books it's not explored that much.
It took a while for the first 'Blade' to get made, and Marvel decided they liked the Whistler character so much, when Blade guest starred on the 'Spider-Man' cartoon, they put Whistler on the cartoon, and the movie hadn't come out yet.
People have a very proprietary relationship with Superman. It's important to respect the iconography and the canon, but at the same time, you have to tell a story. Once you land on who you think the character is and what his conflicts are, you have to let that lead you.
When you're playing the same character for a decade it's natural that there are moments when you want to try something new.
Sometimes I've felt that the industry has typecast me as a certain kind of character. But then I think all it really takes is one role, the right role, to shake that up and change that perception.
Your peers will respect you for your integrity and character, not your possessions.
The closer you stay to emotional authenticity and people, character authenticity, the less you can go wrong. That's how I feel now, no matter what you're doing.
When something really extreme happens, you have to find a way to embrace that and include it in how you think about the character. Sometimes it's not easy.
Cogsworth, the character I did on 'Beauty and the Beast,' could be a bit flamboyant onscreen, because basically, he is a cartoon. But they didn't want Cogsworth to become Disney's gay character, because it got around a gay man was playing him.
We start 'The Butler' in June and that's incredibly exciting for me because I get to work with the amazing Forest Whitaker again. It's a phenomenal script and a great, great role - I play his son. Oprah Winfrey is his wife and my mother. My character is a radical civil rights activist.
I admire many actors, though I don't think there's anyone whose career I would want to mirror sort of by the beats. What I'm really looking to do is constantly defy expectations. I'm very curious to see if you can actually have a character actor and a movie star's career combined.
The only way I get a leading role in a studio picture is if Ryan Gosling can't play it, which is clearly the case with 'Selma.' If this was a non-colour-specific character, it wouldn't be me. It just wouldn't.
I truly think a long career is to keep the audience guessing and not being able to be boxed, and for me, I'm not hell-bent on playing the lead in things as long its an interesting character with phenomenally talented people, and it's a script that I feel is genuinely innovative, creative, and potentially interesting for an audience.
You can't afford for there to be gaps in your pool of knowledge when it comes to a character; otherwise, what ends up onscreen is generalized and unspecific.
I'm certainly a plot and character man. Themes, structure, style - they're valid components of a novel and you can't complete the book without them. But I think what propels me as a reader is plot and character.
Sometimes, comics will make the observation that it's not jokes that are funny, it's characters that are funny. And isn't that true! That's why I always kill jokes. I'm terrible at them, because I get the joke right, but I can't get the character right, and it just goes down like a lead balloon.
Just in terms of when I got the script, the character I probably liked the least was Big Foster. Because even though he was central to the story and to that world, he was really written to be kind of a brute, a pig, a completely black-and-white bad guy.
I always go with the story and character and if those are good and if the setting is something that's scary (horror films seem to always take place at night and the weather's always bad) then I might be interested.
I'm drawn particularly to stories that evolve out of the character of the protagonist.
With 'Nostromo', Joseph Conrad said that he had wanted to write a novel about the degradation of an idea. That's what we wanted to show in the case of Dustin Hoffman's character, Bernstein.
People like to put music and art up against the dehumanizing character of commerce and business corporations.
It's good to play something that's black and white, and a guy that sees right and wrong. I've never played a character like that.
Event cinema is what it is, and I understand why it's successful. It started with things like 'Jaws,' which are extraordinary movies. But what we've lost are great character films which are beautifully directed and had great movie stars in them. Films that were about something rather than about spectacle.
I actually really like Christopher Walken. I find him a really interesting actor. He's such a character that I love everything he's in.
Great actors can transform, but sometimes there's just this person who speaks right to the role. When they walk in the room, you know they're that character. That is something you can't teach an actor; that's something that's luck and chance.
I find fight scenes actually more interesting, in a way, than chase scenes because you're watching your character go through this problem-solving process and fight the antagonist mano-a-mano. It's more powerful, more emotional.
The thing that I like about action sequences is that if they're done well, you get to know more about the character in those few minutes than you do through 10 minutes of exposition.
I can honestly say I've never thought for a second about whether a character reflects poorly on any group. All that matters to me is that the character is true to my belief in who he or she is.
Religion of any form is a sacred matter. It involves the relation of the individual to some Being believed to be infinitely supreme. It involves not merely character and life here, but destiny hereafter, and as such is not to be spoken of lightly or flippantly.
It is a mistake to suppose that the Supreme Court is either honoured or helped by being spoken of as beyond criticism. On the contrary, the life and character of its justices should be the objects of constant watchfulness by all, and its judgments subject to the freest criticism.
You need an actor who can maintain a character over a long period of time. If you have a weak actor, it won't be obvious in two hours, but you'll begin to see his weaknesses over four or five days.
If you have an extreme character, you need normal characters to contrast them. Sherlock Holmes certainly needed a Dr. Watson. And Pippi Longstocking, who supposedly inspired Lisbeth Salander, needed Tommy and Annika, the normal middle-class neighbors.
Fear brings out the best in some people and the worst in others. It's a test of character, for individuals and nations.
Machines are becoming devastatingly capable of things like killing. Those machines have no place for empathy. There's billions of dollars being spent on that. Character robotics could plant the seed for robots that actually have empathy.
I'm Dr. David Hanson, and I build robots with character. And by that, I mean that I develop robots that are characters, but also robots that will eventually come to empathize with you.
Character robotics could plant the seed for robots that actually have empathy. So, if they achieve human level intelligence or, quite possibly, greater than human levels of intelligence, this could be the seeds of hope for our future.
I do feel like anything benefits from character logic. That can be from the dumbest ad to the greatest Shakespearean drama to the silliest 'Saturday Night Live' sketch. There is a certain specificity in detail, which you can get when you're paying attention to stuff like that.
One of the things about having played a lot of villains is... I don't have the same experience of someone who maybe has been a leading man since they were 22 and therefore looks at certain things in a character to romanticize themselves. I actually very much embrace the bad stuff.
Growing up, I really looked up to the classic Hollywood actors like Spencer Tracy, Robert Mitchum, and Peter Falk. I love character actors - I've never wanted to be the leading guy.
The reason it's called 'The Heart of Robin Hood' is that he starts off not having a heart - or certainly not being in contact with it. And through a series of stories, he learns to discover that he has one. He becomes much more dramatic as a character, to be honest, because there's something rather too smug about the endless do-gooder.
The character of Robin Hood stands for the deep anger of the dispossessed against the ruling classes.
I look to challenge myself with a character that's not like myself or anything I've done before, but I certainly don't reject roles based on how often I've done them.
Let's put it this way, when I was casting, I cast Viggo first and then found someone who could play his wife, rather than the other way around. So for me he's still the lead character.
Highly educated young people are tutored, taught and monitored in all aspects of their lives, except the most important, which is character building. When it comes to this, most universities leave them alone.
When you cover politics, you realize that knowing how to talk about character matters more and more. The way we hold ideas is more important than the ideas.
When I'm writing Broadway, it's for a character, a man, a woman, an old guy, a kid. In the band, you're talking in your own voice in the lyrics, saying what you think or feel. On Broadway, you're expressing that through a character.
Every time you try to create an experience with a character who doesn't use a gun, doesn't drive a car, doesn't jump off platforms, doesn't solve puzzles, you are taking a risk.
We have the character of an island nation: independent, forthright, passionate in defence of our sovereignty. We can no more change this British sensibility than we can drain the English Channel. And because of this sensibility, we come to the European Union with a frame of mind that is more practical than emotional.
Going through 'The Partridge Family,' I looked up to people like Eric Clapton and Jeff Beck and all those guys. But as an actor playing a part, I had to sing what was right for the character and the show.
William Hartnell was one of the finest character actors of our time, and as a fan, I want to make sure that I do him justice.
I consider Yoda to be just about the most evil character that I've ever seen in the history of literature.
All of these attacks on Secretary Clinton, at the end of the day, are character attacks.
What fascinates me as a writer is the stuff underneath, To me, what drives a novel is the curiosity behind the character and the depths that you want to find in that character.
Invite characters of surprising and moral character, or at least those who grapple with what is right or those who make decisions that shock.
It's hard being a hostage in somebody else's mouth - or a character in somebody else's novel.
I write both fiction and nonfiction. I begin my fiction with the main character. The story comes later.
A lot of creativity coming from the east side of Harlem. It really built my character and who I am.
It's a real challenge to have someone perform a character vs. imitate a character.
I think every character I've ever come up with has been based on someone or something I've known.
I'm not a big guy. I'm not a menacing guy. I'm not an intimidating guy. I may look that way, but just spend two seconds talking to me, and you know that's not who I am - not as a person, as a character. It's not who I intend to be.
Drax isn't your average stereotypical soldier/warrior/musclehead. He actually has some depth. It was a character that I wanted to play, not only because I love acting so much, but also, I needed to play to get people to actually take me seriously as an actor and get away from the pro wrestling label.
I think the idea of creating a character from scratch, one that has not been done in a novel or an existing story, is immensely exciting, terrifying and ultimately rewarding.
As an actor it's your job to empathise with your character regardless of whether they have a different sexual orientation, spiritual beliefs, or anything.
Sometimes it's a character you want to play or a story you want to tell. Sometimes it's just to pay the bills.
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