For me, it's infinitely more interesting to read or watch a character making decisions they think are right, but the audience knows differently, and seeing that disconnect. The only way characters can grow and learn is by making the wrong decisions and then learning from them.
I'd rather watch a character be good at something and be challenged - there's more to play in that.
The endless teen franchises that come out of Hollywood... more often than not, the central character doesn't have any discernible character traits. They're just the young, good-looking guy who goes on this journey. They're always played by fantastic young actors, but ultimately, they're not very interesting characters.
I want to play Martin Luther King. That is absolutely a role and a character who is important to the landscape of the world that I really want to play.
When you get into a film, it is one story and one set development of a character, and you are able to delve into one character for a short period of time and discover everything about them.
Nothing shows a man's character more than what he laughs at.
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.
If I have a goal, then it is to escape from this literalism. I'll never achieve it; in the same way that I'll never manage to describe what really dwells within my character, although I keep on trying.
My mother and I will continue on some level that I haven't determined yet. I think my mother's a great character, and I have to say that giving my mother to the world has to be the biggest thrill of my writing career.
Some mystery should be left in the revelation of character in a play, just as a great deal of mystery is always left in the revelation of character in life, even in one's own character to himself.
I listen to them freely and with all the respect merited by their intelligence, their character, their knowledge, reserving always my incontestable right of criticism and censure.
A revolutionary party is, in its essence, the party of its leader that carries out his ideology and cause, and the main thing in its building is to ensure the unitary character and inheritance of his ideology and leadership.
I read every script from beginning to end, and I read every draft that I can. I like the show, I like the character, and I want to protect both of those things.
I usually play character parts in Hollywood films.
A character who is thought-out is not born, he or she is contrived. A born character is round, a thought-out character is flat.
I've been asked far too often, 'Can you be blacker?' I've gotten done with auditions and heard, 'We're not going to go black with this character.'
I remember, when we started 'Leverage,' we were all in Chicago, and I read the script for the pilot and thought, 'Boy, this is just a real interesting place to begin a character.' I had to figure out how to go about playing someone who had hit rock bottom.
I'm playing a very strong character, it's the story of the woman Polish Jews out of the Warsaw ghetto. I've just begun my weapons training and the SAS type training that's getting me fit.
In my books, women often solve the problem. Even if the woman is not the hero, she's a strong character. She does change the plot. She'll often rescue the male character from some situation.
I normally don't concern myself with, 'Will audiences like me or like my character?'
I like Ned Leeds. I love the character so much. He's a very new character in the MCU. I think he's a very fresh take on people in the superhero world. Some superheroes crack under pressure, and Ned Leeds, who is not a superhero, doesn't.
I'm probably an actor that tends to, instead of putting things on, think about it more in terms of taking away what's not in the character, until I'm left with what is. If that makes sense. That's probably a particularly American way of working, but maybe not. The end of any movie is a readjustment.
I'm a huge Emile Zola fan, and when Bill Gallagher said he was writing a new character for 'The Paradise' and had me in mind for the role, I knew I wanted to play Tom Weston before I'd even read a word of the script.
I didn't see my character, Core, as a cannibal but as somebody who is extremely passionate and who doesn't have any conscience. She takes her passion to its complete extreme.
I don't happen to have a sense of humor personally, so I don't know what's funny about a character... This happens to be a feature of my life generally.
I want to find the candidates who understand the principles of American exceptionalism and have the character, the courage, and the confidence to actually lead the greatest nation in the world.
But Germany will always suffer, I fear, from the intensely dramatic character of the crimes of the Third Reich.
Some have said that the power of a Redeemer would depend upon two things: first, upon the richness of the self that was given; and second, upon the depths of the giving. Friend and foe alike are agreed on the question of the character of Jesus Christ.
On-screen relationships are the best because you don't have to worry about saying the wrong things. And if the guy's got a girlfriend, or I'm not attracted to him, it's even better. It's just my character kissing his character.
It's just a dream of the struggling actor to just have a proper shot - not just in a film that people will see, but with a character that's rich and complicated and that you can show you're capable of taking on.
I think I would not be described as a character actor in that I don't take on characteristics which are very alien to me.
If you're offered something, you're not really sure exactly what is that they saw in you that they think is the character so it's a little scary, I feel.
To do a movie about someone who actually lived gives you two responsibilities. You have to try to be accurate to the facts of what he did and what he was like as a character. Then, at the same time, you have a responsibility to make a movie that entertains and can get an audience.
'Moonlight' isn't an issue film. It's not about addiction, it's not about sexuality, it's not about identity. It's about all these different layers, because they are all a part of the character.
I love wearing the exact same thing all the time because I think it makes you like a cartoon character. They always wear the same outfit and everybody always remembers them for it, so I feel like I should do the same thing.
To be a character who feels a deep emotion, one must go into the memory's vault and mix in a sad memory from one's own life.
