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Shaheed Diwas 2026
Every time I create a character, I don't assume they speak like I do, even if they're Australian.
I get letters from kids, teenagers and young girls who just want to be Mac. I've had quite a few people actually say that they're going to become a Marine or a JAG lawyer because of me... the character. I think that's pretty cool!
I don't live that much with the character. I find it hard enough having to spend so many hours with the character during the day.
You get involved with a character after spending a long time waiting, and this demands a lot of energy and concentration.
In other people's books, I tend to love the really daredevil-y characters. I love Finnick from 'The Hunger Games.' And I think, probably, my favorite character of all time is Sherlock Holmes.
Music actually inspires me a lot. I listen to a lot of music, and often I find that if I can associate mentally a song or a piece of music with a particular character or scene, it helps me get back into the head of that character.
Every year, I have to spend another hour working out. Pretty soon I'll be spending eight hours working out just to fit in the costume. I have the feeling that the minute I stop doing the character, boom, Roseanne Barr.
I'd love to do a film. I'd love to play a character that I know the beginning, middle and end of.
Ever since I became a Muslim, I've had to deal with attempts to damage my reputation and countless insinuations seeking to cast doubt on my character and trying to connect me to causes which I do not subscribe to.
I didn't have to audition. That's common, but it had never happened to me before. Normally, I hate auditioning. I need to stew and think... let the character develop and grow inside me.
I love Archie. I love Jughead. I like Reggie. I think my favorite character in the show is Betty. Obviously, I can't imagine myself playing that character, but if I had to choose a character, I really love Betty.
I think the more you do this and the more comfortable you become on stage, you start speaking more and becoming more of a character in yourself.
I feel like if a film is well-written, then the character's arc is complete. There really is very little room to expand on that afterwards.
I think I learned discipline on 'Jane Eyre.' Charlotte Bronte's dialogue, the intellectual duel between Rochester and Jane Eyre's character, is so compelling that you didn't have to do much with the placement of cameras.
There's this thing in TV that I find hysterical where the writers and creators will ask us if you want to know what happens to your character or if you want to experience it episode by episode. In the theatre, we always know the ending; we always know where the character is going.
Until we all start to take responsibility, until we do all we can to improve the character of our communities, we'll never break the cycle of violence and indifference.
When you're doing a play that's fully produced, you have the benefit of rehearsing for four or five weeks, so you really get to live in the skin of the character for much longer than when you first start doing a character on TV.
I'm a character actor and I get lost in these characters, so I think it's only recently that people have begun to connect dots and go, 'Oh, that's the same person that did this, this, this, this and this!' which I take as a compliment. One time somebody called me an illusionist, and that was the nicest thing anyone has ever said.
I tend to play every color in the Southern rainbow, and the challenge is to make each character different so I'm not doing any generic 'Southern acting.'
I guess when you're carrying a film, you feel the weight of that because you're there every day, and you feel the weight of your character that way.
One of the things that impacted me the most was in the 12th grade. I just assumed I would get the lead in the musical. Well, I didn't get it; I got the second lead, and I was devastated... my mom said something like, 'Often the supporting character is better.'
I think that Trinity's just the greatest character that I could ever play. I don't expect to ever play another woman that wonderful. I have a lot of Trinity in me, for sure.
My very first role was the character of Barbara Winslow in the movie 'Marmaduke.' Up until that point, I had only done commercials. I had never done a guest star role or a series, and yet they cast me!
I would love to work with Johnny Depp. I really admire him as an actor, and personally, in my opinion, his portrayal of Captain Jack Sparrow is one of greatest performances given by an actor. I love his creative sense and the way he creates a character, so it would be a dream come true to work with him.
Big Bird went through his very human kind of struggles as a child. No other children's character has been that complete and detailed.
I think that Mary Baker Eddy was a fascinating character in American religious history.
To create a character who really interests you, try combining aspects of your favourite fictional character with a real person.
I left 'Dr Who' after 18 months, as my character was going nowhere. In truth, I wished I had never gone into it. Afterwards, all the scripts that came my way were for 15-year olds.
'Hester Street' was my most complete character study, but 'Annie Hall' and 'The Last Detail' were also great.
I try to construct some kind of backstory for my character so that I have an idea of the life of that character - not just from the moment when the scene starts, but from before.
I'm not the same person as the character I do in my songs. She's crazy! The 'Daddy Song' was the first sketch I ever wrote, especially on the guitar and everything - and definitely the most offensive. And absurd.
When I first got my ring name as Carmella, I knew I was just going to do whatever I could to create this over-ridiculous, over-the-top character that would just help me get my face, and I don't even know what I'm trying to say, but just get me out there and just show, like, 'OK, wow, we need to pay attention to this girl because she has something.'
I feel it's important to show different sides of my character, and I never take myself too seriously.
An accent always helps me ground a character. It also helps to remind me what age I'm playing.
For the third season, we do a sit around on one episode where we were in character and then we commented on one episode just being ourselves, so - not really. I was comfortable, though. I wasn't nervous.
I like being the lead but I like being in an ensemble. There are different challenges and dilemmas with both. If you're carrying a film, there's a certain weight, but there are a lot of scenes to explore the character. When you're in an ensemble, you have to convey the entire character in a limited number of scenes.
You can't form a character without being completely comfortable with who you are as a person.
I had some experience when I joined 'The Sopranos' in the last season. My character married Christopher, and everyone loved Adriana. I knew what it was like to join a very beloved, secretive show and following a very iconic character.
I do love the clothes on 'Mad Men' because my character has been so elegant and I would never have had access to these clothes. I think Janie Bryant is a costume designing genius. They'll call and tell me, 'It will only take an hour,' and I'm like, 'I will try on the whole truck!'
I want to do a character in a one-woman show who's a yoga teacher from the Bronx. I could do the best accent: 'Raise yaw ahms up! Reach faw da sky!'
The thrill of acting is making a character real. Modeling is the opposite of real. It's being fake in front of the camera.
I'm no Method actor. I've tried staying in character, and it's just exhausting.
I didn't fall into the category of the 'classic Bond girl.' I had short hair - and no Bond girl before me ever had. They put me in a wig at the beginning of the film, and then had my character cut her hair to pretend to be someone else. That was to explain why my hair was short.
Those with dementia are still people and they still have stories and they still have character and they're all individuals and they're all unique. And they just need to be interacted with on a human level.
My character in 'Shame' is an outrageous person. Loud and uncompromising and I begged Steve McQueen to give me the job.
I do this acting thing mostly for myself. I like to make a connection and communicate with the audience to make myself feel less lonely. I also do it to develop my own character, so sometimes I do it to just be away in a certain area that I've never been to. But mostly, the story has to do something for me.
The nightmare of a film career, or at least the challenge of one, is that you're rarely going to get the opportunity to explore character because once people see you in one thing, you know, they want to see that again.
Since I was from the theater, that's how I learned how to go through the process of being a character. That's how I learned, and that's what I was comfortable doing. And then, the first feature films, I'm sure I was no fun because I did not want to be spontaneous in that filmic way that really can work for you.
I personally like to talk to people when I'm not doing a scene, still acting as if I'm in Gotham when I'm on set because I don't really like to break character, since I sometimes get distracted. I may get distracted when I'm talking to people and having fun; then I have to check myself.
I don't think a character that you played for even eight years ever leaves you.
When you're shooting a TV show, there's not a lot of time to build character.
By knowing your character so well you can't go wrong. All of us kind of fell into that.
Because I was able to submerge myself into the character, I didn't have to go back and forth. You don't have to work hard to bring emotions. It all just comes naturally, you're there living it.
I am in no mood to be deceived any longer by the crafty devil and false character whose greatest pleasure is to take advantage of everyone.
Clothing reveals what a character is trying to project as well as what they're giving away about themselves without even realizing it: their socioeconomic class; their confidence level; their vulnerabilities.
It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character.
Imagining what a character will do in a given situation - it's like an equation, and working it out is a marathon rather than a sprint.
If it's a 50-seat theater, I am neurotic about whether I'm doing an honest performance. Sometimes I walk away happy enough with it. You know, it can always be better, but sometimes I'll walk away distraught, feeling like I missed the pulse of the character that evening.
If you go back to Season 1 of 'The Office,' Steve Carell's character is a lot different.
Whenever you have a role where you don't get to know anything about the character, you have to invent it yourself. You have to feel like it came from somewhere.
I don't think people are ever going to a place where they're like, 'I'm over stories about character and love.'
Oftentimes, in fact I think this is to my fault, I look at usually scripts as a whole. I should probably pay more attention to the character that I'm going to play and what they do.
The more deeply connected you are with the people that you're working with, the better the work and the character, and then, I think, that really translates to life. It will help you in life to be more grounded and genuine.
As you live with a character longer, you claim more ownership over it. You become more defensive of it. It becomes like a person that you know.
There's this character, Theo Galavan, who becomes the ringleader for the revolution of villainy in the city of Gotham. He becomes this mentor figure for Jerome that really inspires him to go off the deep end, and it's really fun.
Penguin is this interesting figure within the city of Gotham. He's this guy who has worked in the shadows and publicly. He's skirted the line between lawful and completely chaotic or villainous. He's risen and fallen multiple times in the ways that pretty much no other character can dream of.
You can't be too concerned with the philosophical meanings of the character and how it will affect everything else.
There was never a moment where I was intentionally cribbing from another actor. More so, I grew up watching other actors design the character of The Joker to me, and obviously, the part was paying tribute to The Joker, and so I wanted to, you know, perform it to the best of my abilities in a way that it seemed to be paying homage to the character.
In violent streets and broken homes, the cry of anguished souls is not for more laws but for more conscience and character.
I think that the character that I'm playing now is so fundamentally different than Ally that I haven't I haven't felt like I had to worry about it at all. But I definitely wanted to make a different choice.
Sometimes when you play a character, you can feel it in your body. And I felt like I had characteristics of my dog: the way Webster moves, the way he holds his head. I kind of adapted it into this part unconsciously.
Every so often when I'm writing, a character might actually be a distinct person in my head - often not an actor or a face, literally a person who just seems to exist in my imagination. Then the challenge is finding somebody who is close enough to that to make me feel like I've ended up where I wanted to be.
I'm so excited about 'Shattered;' it's something I've really enjoyed working in, and it's very different from anything I've done before. I've always been a character actor and done a lot of support work. I've never really been the lead actor, so I'll try and use what I've learned along the way from the other projects.
All I can tell you is I'm going to be myself. I'm not the type of person that is going to develop into some character or come up with some phrase I will always say.
In a play, you know where you start and end and all the stops you have to do, but in television, you can't construct this carefully planned out arc for your character. You often get a script and you're shooting it two days later, and you don't know what's going to happen next. It's one of the harder things that I've done.
I can't live in a world where there are only, like, four kinds of women. Or where every woman is obsessed with cake. The very least I ask is that we have one female character in the world who likes savory things! I don't have any role models who like cheese!
The era of 'The Jungle Book' was when the animators were at the top of their game and their sense of character was great.
One of the surest signs of the estimated changes in the consciousness of the American proletariat is to be found in the character of the demands now being put forward by the leadership.
I think of myself as a character actor, compared to a straight actor. I know a character actor in England is pretty much the same as in the States; you're actually hired to put on terrible teeth and stuff like that.
Any character, for me, always comes together in the hair, makeup, and wardrobe. Shoes especially. For some reason, shoes really do it for me because they help me figure out how the character walks.
Wild Bill was a strange character. In person he was about six feet and one inch in height. He was a Plains-man in every sense of the word.
We're dealing with whether we're going to accept the idea of socialism and Marxism and atheism. Or go back to the American way, Judeo-Christian values, which meritocracy is part of it. The idea that content and character and talent are colorblind.
W. E. B Dubois used the NAACP platform for two decades to discredit the character, reputation, and fund-raising efforts of capitalist and Tuskegee University founder, Booker T. Washington.
Well, everybody knew their character. I was the only one who didn't have a partner. I basically showed up when people got in trouble. Where I came from, I don't know. Nobody knows. But I would show up to help.
You know, he would go and look at different funny books because he wanted his character to be different and make different faces. I saw a funny book in his room and it looked like the same character he was playing. It was about a duck.
Seriously, my music really does help my acting, and, like, getting in and out of a character from a different lifestyle and writing a song about it. Likewise, my acting inspires the music because I can write a theme that I wouldn't necessarily approach at all in life.
There's something really freeing about playing a character that isn't even, like, remotely likeable whatsoever.
There was a lot of dancing in '76, '78, in the '80s. A lot of dancing. The burn years. A lot of dancing. And for a while, working fit in with all that. 'Moonlighting' - that wasn't acting. It was people telling me 'Let's create a character who is you, so you can play him the way you are. The guy you are at night.' It was fun.
Never name a show after a character if you want to be the guy running the show.
Because I like theatre and I love a challenge. With 'ZEBRA!' I've found a new Australian play where I can create a character first - that's what I live to do.
Bond is a classic archetype character, a character that's embedded in our heads forever, one of a lone warrior setting out to avenge a nation - and you find that character across cultures.
There's a theory that says that life is based on a competition and the struggle and the fight for survival, and it's interesting because when you look at the fractal character of evolution, it's totally different. It's based on cooperation among the elements in the geometry and not competition.
Cancer Boy probably has the saddest, noblest, sweetest heart of any character I've ever done.
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