Character Quotes
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I get attracted to projects because of the script or the idea and the basic character.
Every character is asking: 'What's my place? Why am I here? I don't want the answer to be 'Just because.' You find your own purpose. Each finds the reason to be here and how to contribute.
Well what do you do with a character like Christine Cagney and you tell her she can't have things?
I don't believe there is any character that one can play for that long and not bring a piece of you to it.
I tend to learn things physically - I guess it's my dance training. I never want to make too many choices too soon - so, while I am thinking about the character and thinking about her history, which is very vague in terms of what is given in the text, I am starting to have ideas about what her home is.
As an actor, you don't want to ever get too comfortable where you're like, 'I know this character,' and you don't do the work anymore.
When you're on a show that is so free with the body and nudity, you get a guest director every episode, and you want to make sure that they're not trying to one-up each other. It will take away the integrity of our show and the character if you're just gratuitously showing boobs.
I would love to do more acting; I really would love to do it, particularly character acting. I'm a character type of actor; I love situations where I've got a bit of room to improvise on the character.
I always find the more you can draw on real life characters, people, situations, it works better. Certainly for designing a character, I prefer to draw on real people rather than other guys I've seen in movies, rather than 'here's my version of Clint Eastwood' or whoever.
I want to do a little bit of everything. I want to play a good, strong female character.
I hope to be known as a chameleon actress, as someone who can play any part out there, and someone who can transform herself into any kind of character there is.
Acting isn't always about the amount of talent you have, or your ability to cry on command. The point is, how well can you take direction? How well can you put aside your own ideas or ego and listen to the ideas of the director and the people above you, while not giving up the passion and drive of that character?
Sometimes you go into an audition and you'll do what you think the character is, and then if they agree, then it's awesome and you'll book it maybe, and you'll live happily ever after. But sometimes they don't agree.
I try not to think about any of the production side of things. If you do, you tend to get unfocused and distracted. I just try to think about the character and the scene and what I'm doing.
When Paul Heyman came and gave me the whole idea for the character, 'The Franchise,' I remember the NFL was just starting to classify one of their players as the franchise player. So that was the whole idea, that 'The Franchise' was the franchise player for ECW.
When I read a script or I see a character, I don't necessarily see the arc of her, that by the end she is this person, she's different from she was in the beginning. I guess it's more a subconscious understanding of that arc.
Arjun's character has brought discipline in my life. Now everything happens in my life well planned. Initially, I used to get up at any time, but now I get up at appropriate time, and I keep a check on my diet.
Playing the character of Arjun is a challenging task, and I like taking up challenges.
Feeling and reacting has more impact than just trying to emote what your character's saying.
Some rivalries were personal, some professional. First, the curious case of Gambhir. Oh, poor Gautam. He & his attitude problem. He who has no personality. He who is barely a character in the great scheme of cricket. He who has no great records, just a lot of attitude.
I'm firmly entrenched in the Seth Rollins character. It is so close to who I am as a person, we're almost overtly intertwined.
I always go in with the feeling that I'm gonna have a good time in what I'm doing. I entertain myself when I perform. If I do that, then I can see the other performers enjoying my character.
I like to approach comedy from character, to have the stakes for the individuals in the story be very high.
A favorite film of mine is 'Office Space' and I love 'The Hangover.' That is a really good comedy from character in that film, and that is true of 'Office Space' too.
Some novels present a story form many points of view. Most movies tell only one person's side of the story. Sometime it's easy to use the strongest point of view, or find the character with the most dramatic experience. It depends on which themes the scriptwriter wants to explore.
Do you know how hard it is to play a character where you're always in heels? Oh, my goodness!
'Fringe' was the first time I realized that I could ever man up in a character and make this transition from being a boy or a young man into actually being a man.
I was always prepared for my 'Fringe' journey to end immediately. I had only signed up for a guest role but they kept bringing me back in the third season as a recurring character. So pretty much every time I went to film a 'Fringe' episode I kind of said goodbye to the show, but then they kept bringing me back.
I'm often asked where my nickname 'Kun' comes from. My parents says it was a Japanese cartoon I used to watch on television when I was very young, set in the Stone Age, where the main character was a boy called Kum Kum, the little caveman.
My motivation is like it is always, try to be the best and try to win, that is part of my character.
I have no 'dream role.' It just comes to me; it's very intuitive, and I say, 'OK, I have to do this now.' It's not logical; just, 'I have to jump into this very strange character,' or something like that. I can't even explain it.
The idea behind 'Gloria' was to take a secondary character - the aunt, the mother - and stay with her as she becomes our protagonist.
To me, there was something moving about the idea of telling the story of a lady who is, in a way, a forgotten character - someone who would normally be a secondary role in a movie.
In the case of 'Fantastic Woman,' I wanted to make it a more complex animal than just a 'cause' film. Even though I was sympathizing with the character's struggle, I didn't want to be trapped at that level - it's important, but it can be quite basic.
I think that classical theater training is just one aspect of acting. I think that experience of having worked with a lot of text can help you as an actor. It gives you the ability to tackle a larger than life character in parts that require it.
The character of Jim 'The Anvil' Neidhart added so much. He was solid in the ring too, really good. His role in the Hart Foundation - he was great. He was a really good, solid power guy that could move in there, too.
At times it's been weird because for the first phase of my career, I've been really well-known for a character that I was so not like and a character I never anticipated doing.
Maybe I'll just become a cartoon character because there's nothing left for me to do in an R-rated comedy.
I think you need people of principle, of character, that are leaders, that take stands on important tough issues that will affect the future of this country.
From what I've understood, it's an entirely different world, and it's a tough world to get your foot in the door, but I've always wanted to be a voice of a Disney character.
I sort of leave the character at the end of the day. I don't carry anything around with me - no excess baggage or unnecessary thoughts. I think it's too exhausting to do that. To put things into perspective - your work is your work, and your leisure time is something else.
I think that you always have something left, that you take something of the character with you.
006 was such an interesting character and the film really explored his friendship with Bond and how it all went wrong, so it was a very personal journey for both characters.
Sharpe is my favorite role of all that I've played. He's a very complex character. He knows that he's a good soldier, but he will always have to fight the prejudice of aristocratic officers because of his rough working-class upbringing. On the battlefield, he's full of confidence - but off it, he is unsure, a bit shy and ill at ease.
When people see me in public, they're usually like, 'Whoa, you're a real person.' It's as if they're seeing Pinocchio or a cartoon character come to life.
The movies that work are the ones in which somebody very smart figured out how to take all the thematic material, all the character material, all the filigree, all the beautiful writing, and put it into a story.
The best adaptations are the ones that really excavate the material. The movies that work are the ones in which somebody very smart figured out how to take all the thematic material, all the character material, all the filigree, all the beautiful writing and put it into a story.
When I get the possibility of using a character like Bruce Wayne or Dick Grayson, I try and think about what's most exciting or interesting about them as a person, so I try and think what they are at their core, or what piece of their psychology do I gravitate toward that I respect, and I'm excited by it when I read books about them.
There's nothing worse - I don't like listening to actors talk about the process, especially when - I mean, for me I've played a lot of guys, dudes, boys in a sense and this was a challenge for me just to play that official character.
I think if an actor is right for a role, casting sees that, and the words that are on the page, depending on how it's written, can really help your character develop.
I did a TV show that didn't last on ABC called 'The Zero Hour,' and my character was working at a magazine.
I think it always helps when you build a character, and then, you actually step into that character's wardrobe, something else happens. Another angle of the character comes to life.
It's a rare opportunity to play a character that is not only a lot of fun to portray, but it's also rare to play someone that teaches you something.
Anytime anyone gets passionate over a character you're playing, I think you've done your job well.
For me, the first thing that I respond to - whether it's doing a play or movie or television or anything - is just the character. Is this a guy whose shoes I want to walk in for the next 12 days or six months?
I've taught martial arts to many children, from 5 years old and up - there's character development, there's respect, discipline, perseverance.
I'm good when I've got a bit of an edge, like the Clint Eastwood type of archetypal character. The tough guy that doesn't say a lot.
Tom Bosley may have passed, but through that part and that character, a part of him will live on forever.
I have been acting over 3 decades now, so I think after all these years of experience I can get into any character very smoothly.
I have done 16 films with David Dhawan and I have tried to do every character differently, be it Sharafat Ali, Mutthu Swamy or Calender, because of my theatre experience.
I had seen 'Pithamagan' at the big screen in 2003. I was moved by the story and especially the character played by Vikram.
As an actor, one's role is very much to respond and react to the situation within the context of the character and his world.
I am pretty sure I will never get a better character name than Japonica Fenway.
As much as I love to portray a character, I also love portraying a more natural, elegant persona - particularly when I get to enjoy the sunshine in comfy, elegant clothes.
I enjoy working on a series and having a long stretch of time to get to know and connect with my cast and crew. It also gives me the ability to play a character over the span of countless hours of television.
I enjoy the writing process and producing; I enjoy seeing an idea come to fruition. I'm driven by very complex characters. You look at the pilot of 'Breaking Bad,' where there's so much depth to the character, you can't help but be invested when you watch.
I describe my plots as follows; A character is walking down the street when all of a sudden a piano falls on them. They spend the rest of the story digging out from under that piano. How they dig, how long and how well, this all depends entirely on the character.
See, all actors pretend. I enjoy that pretence. I don't wear heels in real life, but if it is for a character, I love to get into the traits of the person I am playing.
I am trained in theatre, and so I take time to study and get into the skin of a character.
If I am playing a historical character, I try to watch the person in newsreels and read about them, but I will not imitate them.
If a filmmaker is making a movie about a nice Midwestern family or a story that needs a very white character or a black or a Chinese, then I don't expect to go up for it. But I know, especially in places like New York, there's no excuse not to see various colors.
I really love the process, with stage, of rehearsal, you get to create a character, and you have a beginning, a middle, and an end of story. And in television, you don't.
I think I'm a character actress at heart, and I think my work is character work for the most part. I'm not the lead of any films - which is not to say that I wouldn't ever want to be; it is just to say that hasn't been my path.
Your work isn't just to learn and say the lines. Your work is to figure out what the chatter in your brain is, that's going on under the lines. It doesn't matter whether you're speaking or not speaking because your mind is working the way your character's mind would work.
Vera Caspary wrote an essay called 'My 'Laura' and Otto's' where she talks about the arguments she had with Preminger. She felt that not only did he misunderstand the character but that he couldn't help but be misogynist.
Yes, Charles Yu names his main character after himself. That main character, in fact, is both time-machine repairman and author of a book called 'How to Live Safely in a Science Fictional Universe.'
I'm interested in telling the character's story, not my beliefs, political or otherwise.
For the most part, my characters don't talk to me. I like to lord over them like some kind of benevolent deity. And, for the most part, my characters go along with it. I write intense character sketches and long, play-like conversations between me and them, but they stay out of the book writing itself.
No matter how troubled a character's history, romance novels tell us, love can be built upon it, and happily-ever-after can result. What's more, the darker the past, the brighter the future - and the better the read.
As with anything, you need to keep your creative juices flowing and keep the character interesting.
I love to play a character. If I'm playing Cinderella or Aurora in 'Sleeping Beauty' or something like that, then I enjoy classical a lot. But to do just a two-minute solo, purely to show classical aesthetic, is not my favorite thing to do.
You're in everyone's homes every week as this character, and they feel like they know you, and then they start to really define you as this character that you portray.
Movement is very important to a character, no matter what period you're working in. So when it came to playing Emma Jung and lacing up in the corset, it was really not a foreign thing for me.
You know what it is, when I'm playing a role sometimes, I just tend to stay in that role. It's easier to maintain. We just shot a pilot in a very thick American accent. I feel like the character lives in me. Of course, my family tease me about it.
Because of the pace of daytime, you don't necessarily have time to work every detail of your character, so you have to bring a lot of it yourself.
Walking into a show when I was 16, at that time when it was the No. 1 hit show, and replacing a character comes with so many expectations. I felt a lot of pressure with that.
But to be part of helping create a character and be a part of something from the beginning - the excitement of it - it doesn't get any better.
I've written short stories from male perspectives before, and I've never had a problem with it as long as I've understood the character's emotions and motivations.
Sometimes I hear a voice - sometimes it's the voice of someone I know. And sometimes that leads to a character, which leads to a story.
I don't like to do too much psychological research because it might turn a character into a patchwork.
Cancer is too real, and too awful, and I can't make it good or magical. I couldn't even read a book where a character had cancer, for a while... But now I've reached a point where I don't think about cancer nonstop anymore, and sometimes I worry about that - I'm going to forget what I went through; I'm going to forget how horrible it was.
My private work is touched by this destiny of understanding that architecture and engineering have a social character and can serve the community.
One of the things that would steer me away from a franchise is that I'm playing the same character all the time and I wouldn't want to be known for that.
With musical theatre, although there are rules, they're so different to the ones I feel like I have accidentally been ingrained with writing pop music. The main point is to tell the story. You just have to make sure the character's voice is strong and the storytelling is strong.
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