Quotes of All Topics . Occasions . Authors
It was a lot of fun to play a character [in Swiss Army Man] with no inhibitions, and with no knowledge of the world, and who comes into the world kind of like a blank slate. It means there's no template or blueprint for how you need to play certain scenes.
What was Freddie like then? Alongside the showman, he was a rather shy introvert. But if the attention was focused on him, he was a natural star, as we all saw after we put Queen together. Week by week, we saw him grow into this character, Freddie Mercury.
It's kind of ironic that my character is a doctor who acts very gay with his best friend. I don't see how gays could ever be doctors, they spend too much time whining about everything. Just get off your soapbox and go back to designing floral arrangements.
There's something very strange and wrong-seeming about drawing realistic eyeballs in comics, at least in the mode of comics where action is carried more by the movement of the characters rather than where narration links disparately framed selected images.
I've always loved dogs and have had one since I was three. We bought her from a kid selling puppies out of a cardboard box on the street where we lived in New York City. Great dog. We named her 'Marcella' after a Raggedy Ann character. She grew up with us.
I hit the ground running, without a lot of training, so I had to do whatever I could do to survive as a professional, and if that meant being that character 24/7 and acting out, I was going to do that. I lived those characters, I brought them home with me.
Let us learn how the love of Christ, received into the heart, triumphs gradually but surely over all sin, transforms character, turning even its weakness into strength, and so, from the depths of transgression and the very gates of hell, raises men to God.
You have to come in and be that character when you walk into the room. That's what one of my first acting teachers taught me. You know, don't go in there being Jennifer and then expect to flip and change, because they're not going to have that imagination.
I did not have a mobile phone in 1993. No one did, except the occasional banker or Hollywood star seeming smart, or the main character in 'American Psycho.' In 1993, every day was 'let's get lost.' I could walk Greenwich Village for hours and not be found.
We are born with a potential for good character - and for the dispositions and habits that make up bad or weak character. Because we are born in ignorance of moral ideals, however, we must be instructed or trained if we are to achieve a good second nature.
I'm not making a movie about the real people. I'm making a movie about what they did, and what happened to them. But I will create characters so that I can have the freedom to make them say and do what I want. The real-life journalists were fine with that.
I don't want to work just for the sake of working. Generally, if a good script comes in, I read it, and if it appeals to me, it appeals to me. And it doesn't have to be anything - it doesn't have to be the main character; it doesn't have to be a huge part.
When I'm writing a comic book, I'm thinking about a character that I'm going to be drawing on the page. I've never drawn a character to look like who I want to cast in a movie because I don't think that way. I'm a real monomaniac. I do one thing at a time.
I love playing characters that go to extreme places, and I love to explore different kinds of psychological landscapes, so it is ultimately a kind of fun, but it's also complicated and colored by the depth of the nastiness of it, at certain times, as well.
Human character is never found "to enter into its glory," except through the ordeal of affliction. Its force cannot come forth without the offer of resistance, nor can the grandeur of its free will declare itself, except in the battle of fierce temptation.
I think I've always been drawn to the second person. When I was growing up and playing with my friends, the usual way we interacted with imaginary worlds was as characters: a bench was 'your' boat, leaves on a lawn were the fins of sharks out to get 'you.'
I love the theater. I love the rehearsals. That's where you build a performance. That's your foundation. If you're gonna build a house, you start with the foundation. That makes the house strong. That's the way I build a character, from the foundation out.
I've always been a fan of the 19th century novel, of the novel that is plotted, character-driven, and where the passage of time is almost as central to the novel as a major minor character, the passage of time and its effect on the characters in the story.
My favorite artists from comics were early ones like Jack Kirby or Steve Ditko who had a real heavy ink style. Captain America, co created by Jack Kirby, was a favorite of mine and I sometimes use an altered version of his costume on some of my characters.
The foundation of worship in the heart is not emotional ("I feel full of worship" or "The atmosphere is so worshipful"). Actually, it is theological. Worship is not something we "work up," it is something that "comes down" to us, from the character of God.
It's not that I'm necessarily looking for things that are so dark and emotional. But if I see something where the character goes through enormous change, it's very appealing to play all those levels, and that is probably going to involve some dark moments.
I do think that in the near future, if it hasn't happened already, people will be able to use technology to design their own novels, perhaps with individuals themselves as the main character. In other words, everything is being individualized and narrowed.
Of means of persuading by speaking there are three species: some consist in the character of the speaker; others in the disposing the hearer a certain way; others in the thing itself which is said, by reason of its proving, or appearing to prove the point.
Music helps define the character and is an extension of the character somehow, so that you are able to use both the songs themselves and the way that you sing them to tell something about the character and his story, as well as develop a performance style.
I played the character knowing that she was knocked down, 100 percent, dead-in-front-of-a-bus in love with her boss. Every scene, I did not care if it was about taxes or about, you know, getting rid of the penny, it was all about me being in love with him.
I like trying jokes and seeing the response, and if I end up doing it in my act, it won't be 140 characters. Twitter is helpful that way to me. It's like a message in a bottle. But a lot of times I think I tweet the stuff I would like to say to teenage me.
You will never be able to truly step inside another person, to see the world as he sees it, until you develop the pure desire, the strength of personal character, and the positive Emotional Bank Account, as well as the empathetic listening skills to do it.
Anyone who is passionate about what they do will have a better chance of connecting with future generations than those who simply follow transient trends. At least their work will have a distinctive character, and this is what people respond to, I believe.
Respect your characters, even the Âminor ones. In art, as in life, everyone is the hero of their own particular story; it is worth thinking about what your minor characters' stories are, even though they may intersect only slightly with your protagonist's.
I would love to be in 'Downton Abbey.' That's the thing I thing many people would have a good laugh with me saying anything like that. I feel like that's the next phase of my career. To reprove to everyone that I can do things besides the crazy characters.
Somewhere in the back of my brain there exists this certainty: The body is no more than a costume, and can be changed at will. That the changing of bodies, like costumes, would make me into a different character, a character who might, finally, be alright.
For movies, I usually do an entire book that has all kinds of things about what is happening at the time the movie is going on and try to get into what my character's going to be like, to try to get some consistency, because they shoot movies out of order.
I took a fortnight off. But I'm not a great believer in breaks. I don't want to be rattling around inside my own head. I did feel I was spiralling into a Kathy Burke character and tried going out, but I prefer it here. Filming keeps me busy. It absorbs me.
It's the same kind of preparation you do for something like this you do for anything. It doesn't matter if it's a drama or a comedy, the need to get the emotion and the character arc across is way harder in something like this so was more of a preparation.
When I pick a role, one of the things that I aspire to is that somebody's parent will come up to me after the film has come out and say, "My daughter idealizes that character. You're her hero." That's what I aim for. We're in the business of making heroes.
Pres. Lyndon Johnson was a middle-aged man of smalltown America, both a Westerner and a Southerner, and except where politics had demonstrably forced his growth-as on the question of civil rights-he functioned like most men, as a product of his background.
Crime seems to change character when it crosses a bridge or a tunnel. In the city, crime is taken as emblematic of class and race. In the suburbs though, it's intimate and psychological, a mystery resist to generalization, a mystery of the individual soul.
How to Be an American Housewife is filled with dreams and love-the kinds that come true and those that don't. Margaret Dilloway is wise and ironic. She has created wonderful characters who never, in spite of hardships, stop finding ways to love each other.
I can tell you that as a writer and as a reader, I regard character as king. Or queen. No matter how riveting the action or interesting the plot twists, if I don't feel like I'm meeting someone who feels real, I'm not going to be compelled to read further.
With the latitude of unbounded scurrility, it is easy enough to attain the character of a wit, especially when it is considered how wonderfully pleasant it is to the generality of the public to see the folly of their acquaintance exposed by a third person.
I don't want to be reincarnated, that's for sure. When you've had rewarding experiences in your life - a loving family, friends - you don't need additional reassurances that you're going to do something with a new cast of characters. I'd just as soon pass.
Home is the first and most important school of character. It is there that every human being receives his best moral training, or his worst; for it is there that he imbibes those principles of conduct which endure through manhood, and cease only with life.
There are certain types of slightly hysterical human characters who, rather than creating, walk around with a sense of their own potential - it's as if they themselves were art objects. They feel as if their lives are written narratives, or pieces of music.
We live in a box of space and time. Movies are windows in its walls. They allow us to enter other minds, not simply in the sense of identifying with the characters, although that is an important part of it, but by seeing the world as another person sees it.
Obviously you have to have talent in order to play so you can't overlook that, but we won't overlook the character issue when it comes to talent because if they have talent and they don't have character, it's going to be very difficult to coach that person.
I have a history, a long history of being stereotyped as a five-foot-two woman, which is very limiting. I've worked so hard to create characters that have dignity. And I think everybody knows that I have a very pro-woman message in my work - and in my life.
To me it's not so much that the movies are slow-paced as much as they are about spending time building a relationship between the audience and the characters. If you don't spend an adequate amount of time doing this, then how can you expect to scare anyone?
There is nothing that so raises a young man's self-esteem, that so contributes to the formation of his character as for him to find himself unexpectedly confronted with a task which he has to accomplish entirely on his own initiative and by his own efforts.
When the Seinfeld show said it was going to be a show about nothing, everybody said it couldn't - wouldn't work. It did. Thor is about something, about that character finding his destiny, but it's not doing what was expected... and yet it's doing very well.
No matter what you set out to do and how you set out to do it, you ultimately have to be who you are, and who you are as that character. So, I paid as much homage as I could to what Michael Clarke did, and had to rely on my own gifts to guide me through it.