The most important thing is to just be good at what you do. You do a good job playing the character, and people will be taken up with your character, not your clothes.
I played this character twice in live action, and now I've become an animated character. It was actually fun to see myself drawn - I've never been a drawn character before.
For 'Beasts,' I really wanted my character to be this sort of mushy, muscleless Muppet.
I've always thought of myself as a character actor, even though I've played some leading-man roles.
As the camera, I try to subordinate every word to be truthful and honest to each character's context.
You can spend a bit of yourself when you give yourself to a character. At the end of a job, you have to remind yourself who and what you are.
The closer you stay to emotional authenticity and people, character authenticity, the less you can go wrong. That's how I feel now, no matter what you're doing.
I've always remembered something Sanford Meisner, my acting teacher, told us. When you create a character, it's like making a chair, except instead of making someting out of wood, you make it out of yourself. That's the actor's craft - using yourself to create a character.
There is no glory in war, yet from the blackness of its history, there emerge vivid colours of human character and courage. Those who risked their lives to help their friends.
I'd just like to see a role for women where someone who isn't traditionally attractive is not portraying the best friend. You know, the character that only speaks in questions. 'Gee, are you gonna go out with him? Do you think I look fat?'
I love 'Troy.' I love Brad Pitt's character - when he went to Troy, he just ran over it. Then this particular scene where they made this big old horse or something out of wood, and they hid inside the wood.
Character and story are suggested by the voice in the words themselves.
I have really crooked teeth - they give me character!
I have a character failing. I am quite incapable of identifying with anything whole-heartedly. Whatever I am doing, I am always planning to do something else. I would rather travel than arrive.
We all have a cross-gender character: Every woman has a man that they can play, and every man has a woman that they can play.
My only job as an actor is to try and understand the character and, to the best of my ability, bring this character to life.
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.
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 think in some ways, acting and writing are the same. You're getting inside the skin of someone else; you're creating their language and their actions. As a writer, you have to see the whole picture and the structure, and you have to understand every character.
Man's natural character is to imitate; that of the sensitive man is to resemble as closely as possible the person whom he loves. It is only by imitating the vices of others that I have earned my misfortunes.
I think we've all been kind of... everyone's been hurt, everyone's felt loss, everyone has exultation, everyone has a need to be loved, or to have lost love, so when you play a character, you're pulling out those little threads and turning them up a bit.
For my own part, I wish the bald eagle had not been chosen the representative of our country. He is a bird of bad moral character. He does not get his living honestly.
With every character, I just bring something that I can make my own.
Does the novel have to deepen the psychology of its heroes? Certainly the modern novel does, but the ancient legends did not do the same. Oedipus' psychology was deduced by Aeschylus or Freud, but the character is simply there, fixed in a pure and terribly disquieting state.
I started in theatre, and for me, it was all about transformation. You transform into the character that you're playing.
I like to stay within the context of the character's background. If he's a cop, I have to make sure the audience is convinced that this person, a cop, can do only so much without a gun.
Non-fiction, and in particular the literary memoir, the stylised recollection of personal experience, is often as much about character and story and emotion as fiction is.
I usually look at things like that from an audience perspective first, then have a closer look at the specific character they're talking about me for.
As an actor, I've always wanted to do characters that would help me find my connection with others and connect all of us together. You always want the energy of the character, the spirit of the person, to enter you. I've been doing this for 26 years and some of the things I've done are always with me.
Spider-Man's probably my favorite. You see, Batman is a billionaire and there's nothing really cool about a billionaire saving the world. But Spider-Man is Peter Parker, a conflicted character who puts on a suit and saves the world. I love that.
Character roles definitely age better than your ingenues. You don't get to keep doing that.
No matter what name we give it or how we judge it, a candidate's character is central to political reporting because it is central to a citizen's decision in voting.
I'd love to star in a television series of my own. I love the idea of living with a character for a number of years, watching him grow.
I am super-proud to have a sort of famous character in my background that if you're a certain age, he was probably a part of your youth. I think that's pretty cool.
'Longmire' is more of a show about the characters, and you couldn't pay a bigger compliment than to want to know more about my character, or the characters on the show.
I watch action movies, and you don't remember when Jason Statham does a kick or punch. It's character trait stuff you remember.
