Quotes of All Topics . Occasions . Authors
I guarantee you that two directors that are any good can take the same story, change the name of the characters, change the name of the town, and make an entirely different picture.
I do build my own backstory as an actor. It's important to know where your characters have come from in order to know where they're going - in order to exist in that state of being.
There's no such thing as a perfect person, so it makes no sense to write a perfect person. I don't know any author who'd try. And we write characters, not representations of groups.
Female characters in literature are full. They're messy: they've got runny noses and burp and belch. Unfortunately, in film, female characters don't often have that kind of richness.
I find flawed characters much more interesting than perfect ones and enjoy the challenge of making readers root for them in spite of their unsympathetic path and destructive choices.
I've played a lot of these characters that aren't particularly pleasant and pretty powerful, bad people, and one thing I've discovered is that there's a real stillness to these guys.
My play Safe Sex was picked apart because critics thought it was untrue. It was a play in which no one had AIDS, but the characters talked about how it was going to change their lives.
Since I think I am very boring in normal life, I tend to hide behind all these exciting characters, making people believe that I am someone else entirely. That feeling is very powerful.
Apparently, I'm very good at firing a gun without blinking, which is unusual. That's why so many action characters have to wear sunglasses during shoot-out scenes. That's my party trick.
I don't tend to think of these characters as losers. I like the struggles that people have, people who are feeling like they don't fit into society, because I still sort of feel that way.
For me, acting is like a therapy. I can express myself fully when I am acting and have blood in my veins. Even when I'm not working, I'm always living in my own world, imagining characters.
I look for material that both interest me and challenges me. If I am drawn to the material and I have to work hard at it, the characters and the plots reflect the hours and hours of research.
Many of the characters who appear in the pages of the Fourth Gospel are literary creations of its author and were never intended to be understood as real people, who actually lived in history.
I still get up every morning at 4 A.M. I write seven days a week, including Christmas. And I still face a blank page every morning, and my characters don't really care how many books I've sold.
I remember Tom Baker once said to me many years ago: never go back, particularly with TV shows. This is because the track record for characters returning to series they've left is not very good.
I love thinking of cartoon characters feeling really real feelings. And I love to do that, not just as a fan, but as a creator, so if people want to look for those levels, they're actually there.
I'm happy being myself, which I've never been before. I always hid in other people, or tried to find myself through the characters, or live out their lives, but I didn't have those things in mine.
I, as a fan of numerous TV shows and movies, know that people mess up. The characters that we love are not always going to act in the ways that we want them to. That's what makes them interesting.
The Little Friend is a long book. It's also completely different from my first novel: different landscape, different characters, different use of language and diction, different approach to story.
Blues is the bedrock of everything I do. All the characters in my plays, their ideas and attitudes, the stance they adopt in the world, are all ideas and attitudes that are expressed in the blues.
I do see a lot of roles that are, like, the girlfriend or the love interest or the girl next door. Maybe not totally well-rounded kinds of characters - women who are more of a plot device in a way.
There's so many different people that I'm fascinated by. Different kinds of characters that I meet in, like, everyday life, that I'm like, 'I don't know how you exist. Like, you're so fascinating.'
Dr. Cox mentors the rookie doctors with a spoonful of dirt and then a cup of sugar. I see him as an archetypal descendent of two of my favorite curmudgeonly characters: Lou Grant and Louie De Palma.
With comedy, don't try to be funny. That's really helped me. Just say the lines as you would say them, interact with other characters, and try to make it as real as possible. It will come out funny.
I'm a mixed race lad from Liverpool. I get to play a lot of hard characters, and some people perceive that's what I'm like, but it's great for me 'cos they're always the most interesting characters.
I've never been an impressionist. I was doing Sofia Vergara and Elizabeth Dole. I'm sometimes so low-confidence and self-aware, so characters that are confident and ignorant and wrong are my favorite.
We have created characters and animated them in the dimension of depth, revealing through them to our perturbed world that the things we have in common far outnumber and outweigh those that divide us.
Masses of girls identified with Bella in a really profound way, for want of a better word. The connection that I've seen people have - I've seen it physically. It's the characters they're flipping for.
Typically in animation, the characters exist in a kind of stasis. Look at 'The Simpsons' - they never age, the baby never grows up - or 'Peanuts' - the kids never grow up, they always stay the same age.
As an actor, you are used to portraying other characters. You can pick up any mannerism or body language that suits the character. But to be yourself and not look pretentious is a difficult thing to do.
You know, I really enjoy longevity. I see actors in their forties and they just turn out these really fabulous roles and characters. You know who they are, but you wouldn't necessarily know their names.
'Line Of Duty,' for dramatic purposes, tends to create characters whose corruption is balanced on certain ethical conflicts, whereas the majority of corruption in the real world is simply based on greed.
My characters have undergone the same process of simplification as the colors. Now that they have been simplified, they appear more human and alive than if they had been represented in all their details.
I feel very fortunate that I was able to be cast in roles that showed the humanity, if you will, of usually stereotypical Indian characters that made up a lot of film, like the Pawnee in 'Dances with Wolves.'
All the characters in my films are fighting these problems, needing freedom, trying to find a way to cut themselves loose, but failing to rid themselves of conscience, a sense of sin, the whole bag of tricks.
When the characters are believable and endearing, action scenes, for example, make an impact. Otherwise, the audience gets no kick out of action. The biggest strength of 'MCA' is that its characters are real.
We generally pretend to be something to survive in a society. So the characters I play, I want them to be wholesome characters. They are not necessarily the most wise people, but they do have a heart and soul.
I love playing really strung out characters, and characters that are really pushed to their limits and losing their mind. I think that's wonderful. To be able to lose it, in many ways, is just great fun to do.
I hope we can see African American characters as the diva, as the villain, and also as the praying mother. We are all of those things. We tended to only be the best friend or the neighbor in everybody's sitcom.
'The Beautiful Things that Heaven Bears' is very much about America - it just happens to have African and Ethiopian characters, and in fact, it happens to have more characters who are not Ethiopian than who are.
That larger story in 'Salvage the Bones' is just about survival, and I think that, in the end, there are things about this novel and about these characters' experiences that make their stories universal stories.
I have to be entertained by what I'm writing, so a lot of my stuff has a goofiness or scatological quality. If these characters can entertain me, then I feel like I can deal with the darker or more serious stuff.
Many of us grew up with colourful characters such as Tony the Tiger, Coco the Monkey and Ronald McDonald. These figures were designed to market products - from sugary breakfast cereals to hamburgers - to children.
I was kind of a cross between Kristy and Mary Anne among 'The Baby-Sitters Club' characters. I was shy, but I was also kind of a tomboy, and I was really good at sticking my foot in my mouth even though I was shy.
I used to spend a lot of time alone as a kid, creating characters and doing voices in my room, and I thought to myself, I'm either going to go absolutely nuts, or I'm going to find something to put that energy into.
For me and my films, I want my audience to experience cinema in its full glory. It's not just visual, it's audio as well. It's emotional, and I want you to be engaged with not just the scene but with the characters.
We are not brain surgeons. We are not curing cancer. We are not finding the next cure for Alzheimer's. We are simply and merely entertainment. We take on and wear the masks of characters. That's what we're paid to do.
My favourite genre lies inside myself, and as I follow my favourite stories, characters and images, it sums up to a certain genre. So at times even I have to try to guess which genre a film will be after I've made it.
I've always preferred writing about grey characters and human characters. Whether they are giants or elves or dwarves, or whatever they are, they're still human, and the human heart is still in conflict with the self.
It's only recently women got to be action heroes on TV. Progress is slow, and often non-existent. There's plenty of cool comics with female characters... But all it takes is one Catwoman to set the cause back a decade.