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Shaheed Diwas 2026
I guess a lot of people don't realise, but I'm always playing a character when I'm working. When you're always having people's images projected on you, who 'Daria' is as a person sort of disappears.
You get a bad review with a novel, and it hurts. But I imagine if you get a bad review with a memoir, it hurts more because you can always say, 'Well, they didn't like my characters,' but when you're the character, it's like, 'Oh, yeah, they actually didn't like me.'
In order for a narrative to work, the primary character should have a concrete desire - a need that drives her story - and the story's writer should make this goal known to the reader pretty early in the narrative.
I usually hold a puppet and play with different voices until something happens and the right voice just hits me. Then, I'll pick a name that just seems to fit the character that naturally comes out.
If you do a character that resonates enough, people are always going to see you as that character. It will just be up to me to make choices where I can flex other muscles.
The most I could hope for is to come and try and develop a character who is interesting, who is interesting to me, who is interesting to fans and who could contribute to the storytelling that is 'Law & Order: SVU.'
I think in many ways, I'm sort of a blank canvas, because in many ways, I'm just observing the world and the people around me and their characters and letting them kind of explode off me and to find out why they're doing what they're doing. But then every once in awhile, I get to take on a whole new character.
I used to make up stories about my father. I would go to the movies and look for a character who looked like my father.
What Tim does is, he calls me and sends me the script. And then he sends me a drawing, an illustration of his image of me as the character. It's so great.
Also, in my acting, I feel very much like a storyteller, exploring the flaws of the characters that I interpret. I look for the imperfections, and I love a character that is just so flawed.
I started my career in Portugal, and the longest I've ever played a character was for about a year, which is how long our TV shows last.
When I develop a character, I usually start by creating a backstory with whatever information I have access to.
When you first get out of doing a show for a long time where you played a teenager, casting directors and producers all still look at you as being the character that you played for so long.
A book begins with an image or character or situation that I care about deeply.
After 'The Wonder Years,' I ended up having a voiceover career, which was something I never even knew was possible. But after the character I was playing on 'The Wonder Years,' people said, 'Oh, would you like to do a Burger King thing? And there's a 7 Up thing...' And then I got to do 'Dilbert.' I think my voice kind of fit for that.
I'm always writing about character first. Plot, such as it is, comes from the characters.
For us as Asian-Americans, I think the bane of our existence is one stereotype - 'Sixteen Candles,' the Long Duk Dong character.
Jackson went from the professor's chair to the officer's saddle. He carried with him the very elements of character which made him odious as a teacher; but I never saw him in an arbitrary mood.
I just felt that you can't have a character fall in love so madly as they did in the last movie and not finish it off, understand it, get some closure. That's why the movie is called 'Quantum of Solace' - that's exactly what he's looking for.
What's great in theater is that you can sustain the arc of a character for a full three hours, whereas in film or TV, you have to create that arc in little pieces, and usually out of sequence.
I consciously think about the ethnicity of every character that I create and cast. But one thing that is equally important is quality representation. It's not enough to put an African-American in there, a female in there, a gay character in there: How significant is their contribution? Can they drive the story?
If you create a movie that is only character driven, with a weak plot, then you - as a director, you have to make sure you keep pushing the tempo.
There are many wonderful orchestras in the world, but very few who have a character or personality of their own. The Chicago Symphony Orchestra is one of them, and I think it very important to recognize and respect that character.
If you play a real character who's famous and still alive, it makes things easier if you have the luck to have a good relationship with them.
It was great, because as far as playing such an iconic character that Cinderella is from the Disney world, walking into such a raw and authentic environment - even though it's the real world, and it's Jacinda, it's still Cinderella that's being cursed, and now she's in the real world as Jacinda.
For me, when my agents and reps send me a script, I read it through, just for the story purpose of it, and then I read it again to think of my character and see if it's something that I'm interested in bringing to life.
My character on 'The Sopranos' was specific to being a single mother and being from Jersey. And being part of that season finale... wow. That show is always going to be world-renowned and iconic.
I have this dream life where I get to be a celebrity but I get to navigate the world fairly easily because I'm always in character.
I'm tired of defending my character. I am what I am. What you see is what you get.
The idea of us telling a story where a character doesn't get everything he wants at the end is one of the relatable things - dealing with failures and missteps in life - and it's something that's so rarely dealt with in movies, especially kids' movies.
Once you get into a feature, whether it's a sequel or an original one, you have to start all over again, and you're creating a world, creating new characters. You're also tracking emotions. You're trying to create emotion and create a character that you can fall in love with for two hours.
I love wearing Converse or Vans and wear a lot of bombers or denim jackets. I'm also a bit of loser, so wear a lot of film and band T-shirts. My friends say that I look like a cartoon character because I'm always wearing the same kind of stuff.
With courage and character, American soldiers continue to put themselves on the line to defend our freedom, and so many have paid the ultimate sacrifice.
I would say I locked into my persona pretty early; I wouldn't say it's how I am naturally, but it's how I am naturally when I'm on a stage in front of people. That anxiety makes me be the character that I am.
I've heard people tell me there's never been a gay character like Agron on TV before, and some fans have even thanked me because they now feel like they have a gay action hero, and it's very endearing to hear that kind of stuff. But I just played him the way he was and tried to do right by the character.
Every film you're commissioned to write is all about an arc; usually, the arc is that the world creates a change in the character, usually for the better. To not have an arc, the messages and ideas in the film became more prominent.
When you're the guy inside of a character and you've lived with it for almost two years, you're always a bit defensive about the character, and you want to root for the character you're playing.
Theatre is all about the process and the sense of community that is created. You have weeks of rehearsal, time to explore your character and get to know the other actors. There is opportunity to try off-the-wall ideas, to find layers and nuance over weeks. You become like a second family with your cast.
I love to come in and play with a wig or glasses or clothes. I love using props. I'm from the Peter Sellers school of trying to prepare for the character.
The nice thing is that, at least in Los Angeles, I'm known as a character actor and I do auditions for other things besides just cartoon shows.
It's the weirdest thing. When you go into acting, you expect to be a huge star and to be recognized... It did happen, but not in the way you expect it to... In L.A., I'm just another character actor.
It's a different way of getting across an emotion. You're trying to get it across to the animator because the animator is inspired by the voicetrack in terms of how to animate the character.
It's not like my old self - I'm not in character anymore, I'm me. I'm not hiding behind that anymore.
Stationery gets me excited because it has an individual character, unlike computers, which may be convenient but are generic and bland.
To be honest, I think for part of my late teens my character didn't really develop very much. I was in a state of cold storage.
It is the highest form of self-respect to admit our errors and mistakes and make amends for them. To make a mistake is only an error in judgment, but to adhere to it when it is discovered shows infirmity of character.
In the acting community in New York we call 'Law & Order' 'grad school,' because everyone eventually does a 'Law & Order.' My first one was in 1995, which was a year after I got out of school. Matthew Blanchard was the character's name.
To try to create a character without a whole lot of information can be taxing. At the same time, it's fun to just stay on your toes and let the next bit of dialogue come in, and turn the page as you read the next script and see what they have in store for you next.
God may not guide us in an obvious way because he wants us to make decisions based on faith and character.
Spiritual formation is character formation. Everyone gets a spiritual formation. It's like education. Everyone gets an education; it's just a matter of which one you get.
Spiritual formation in a Christian tradition answers a specific human question: 'What kind of person am I going to be?' It is the process of establishing the character of Christ in the person. That's all it is.
What sometimes goes on in all sorts of Christian institutions is not formation of people in the character of Christ; it's teaching of outward conformity. You don't get in trouble for not having the character of Christ, but you do if you don't obey the laws.
I think I would have been so much in awe of the movie set, the people and what everybody's job was, that I don't know if I would be able to concentrate on the character.
What we've seen of Rey, she looks like she can handle her stuff. So most of the comments I get are from parents who say how wonderful it is that their little girls can see this character.
So many people look up to Jennifer Lawrence playing Katniss in 'The Hunger Games.' For them to look up to Rey and what she represents would be fantastic. She's a wonderful character... The reason I love her so much is she does all the fun stuff. She fights, runs and protects herself and has an incredible emotional story.
When I did 'The Social Network', David Fincher told me that I managed to make a thankless character pretty awesome. I thought that was really cool because I think he's really cool.
I did a movie where my character was obsessed with Bruce Lee, so I learned everything about Bruce Lee, read everything, watched his movies.
I like to have fun with my videos and performances, that's the most fun part when it comes to the music. I get to show off my character.
But it was this tough little character part that I was playing, a very funny little guy that I invented over a weekend, because I realized I was not contributing to the humor of this thing. And I had to do something.
I think is very beneficial to relax yourself so that when you are doing it you are not staggering for lines and your concentration is not on what I am going to say - but the scene itself, the character that you are talking to.
No not pigeon holed me as an actor, or as a character, or as to what I could do - but what I would do... and the fact is the things you don't do are almost as important as as the things that you do.
It's more difficult for me to get into a character in the lead-up as opposed to leaving it.
When you do a play, or even a movie, you have weeks to finesse your character. You really understand why they do what they do. In TV, you get new material weekly about your character.
To anybody who says to me, 'I'm in character,' I say, 'You should be in an asylum.' If you don't know that you're pretending, then you should really seek medical help. I don't have patience for that stuff.
Big picture, it's amazing to create characters and see them brought to life in the art. And to love that art. But I especially enjoy writing a character with heightened powers that aren't especially useful to him.
A novel can be set in motion by an incident, a character, a location, a mood - by anything at all. Sometimes the stimulus can be an idea, which will rapidly clothe itself in character and incident. 'Foreign Bodies' came about through the contemplation of the contrast between post-second world war America and Europe.
I'm all about the story. If I like the character and I think the story's entertaining, I'll do it.
They say everything you go through in your childhood builds character and inner strength.
Sometimes, there can be a slightly condescending assumption that anything unlikable about a female character is a mistake, as if they're a contestant in a beauty pageant and have to seem charming and upbeat all the time.
I love books where you can fall in love with the character. And when I say fall in love, I don't mean to be so enraptured by them but to know them really deeply.
I feel like a good director provokes you to ask questions about your character, but doesn't answer them for you.
I loved 'Lobo' in the '90s, but I think that character is hard to connect with, especially for new readers.
Reilly Brown is a master of balancing action, humor, and extreme violence, and his character designs for some of the alien races and technology that we encounter is just amazing.
As an actor I'm part of a long line of character people you can take back to the silent movies. There's always the little guy who's the sidekick to the tall, good-looking guy who gets the girl.
There's something about the way of playing a repellent character, that if you can play him with a certain amount of charm, you can get away with a lot.
I'm a character actor but unlike a lot of character actors, I don't look radically different from film to film and there was a bunch of them at once.
As an actor I'm part of a long line of character people you can take back to the silent movies.
I love when I get compliments on my shirts all the time. I'm a t-shirt guy, and I think nine times out of 10, they have some kind of super hero character on them.
I've been on the show for six years and I don't even know what her history is. I sort of make things up in my mind, but I think it's hard for an audience to follow and invest in a character when they don't have the details.
I'm getting a lot of stick because my character in 'Young Dracula' wanted to be vampire, so now that I am a vampire, everyone's like, 'You finally did it!' But it's cool and I loved doing 'Young Dracula.' That show's finished and I don't know why it ended, so it was brilliant to go into 'Being Human,' which is like the adult version of it.
I'd love to pop back into 'Being Human' as Adam. I love the character so much. I've never really played a character like that. I'm always playing the geek, so to play a kid who is very energetic when he wants to be, and who is always trying to get the girls, was really cool.
When I start thinking about a role, I read the script a few times and then let it sink in - and then take some time to develop how that character is going to play out and what he's going to do.
Even in comedy, you have to be real. It's all about being real. It's how real can you be? That's the challenge. How much are you willing to take on for your character?
I called my show 'Power' because, for me, the whole series is about the way my main character, Ghost, is power-less over his circumstances, even though he has almost endless access to money and guns.
The baseline character in a lot of Western literature is a man. So we, as women, do a lot of suspending of our disbelief to experience a novel or a play or a movie through that male character.
The revolution is that we can be anything. We don't have to be one thing or the other. The idea that it is my responsibility to represent only good black people... I mean, what are you talking about? That's not a character - that's a polemic.
Eventually, you know the rhythm of your character, of the set of the piece. It takes less energy for you to hit that point, and then everything resonates. But initially, it takes a tremendous amount of energy. You just hope it's gonna be okay and you don't forget your lines and those cameras.
I would love to be on a show where I'm allowed to play a character that you're not suspicious of, from the get-go, and who's someone that you can just relax with, take in and like, right off the bat.
Any decision that's made about my career is ultimately my decision, and it's helped me not to plan too much. I've never been the guy thinking, 'I want to do a play this year, I want to do this kind of movie or this kind of character.' I don't have that sort of control.
Working with George Miller was an education. It was eight college degrees in character development and directing all at once.
I don't really want to make casual games or games with no sort of story backbone or character backbone.
We did so much work developing the character of Kratos, why would we throw all that out? We're sort of treating the first seven games like chapter one of this character's life.
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