You get the part, sign the contract and start to realize millions of people follow this guy and know more about your character than you do.
I would rather have played a character like Opie than Little Ricky.
Every phase of our life belongs to us. The moon does not, except in appearance, lose her first thin, luminous curve, nor her silvery crescent, in rounding to her full. The woman is still both child and girl, in the completeness of womanly character.
I'm interested in character and dialogue and exchange of ideas.
In violent streets and broken homes, the cry of anguished souls is not for more laws but for more conscience and character.
I'm viewed as this weird, crippled character. But you got to take your lumps.
At one time, whenever the hell it was, they wanted a character to come in and stir up the pot. They brought me in for 8-10 episodes and said we'll try it for that.
When you're portraying someone that really existed, there has to be a time as an actress where you leave reality and move into the fantasy world so you can do your job of creating a character.
I'm just going to be as honest as I can with my children and really try to build their character to be as strong as ours is.
My only requirement for that first story was that there had to be a fight or an explosion on every page. Naturally, no one wanted to publish it, but I liked the character, did a few stories to keep my hand in.
It helps to write as the character that I am trying to be, and try to journal every day as them. Once I've already recorded thoughts as this person, it's easier to just flip back through and be like, 'Oh, yeah, this is what she's thinking; this is what she's feeling.'
The great thing for me is how Hitchcock uses guilt so well. He implicates the spectator in the character's field, and you really feel it, and there's incredible relief when it comes out right - if it does come out right.
It's a character I've created. Actually, that's pretty much the opposite of me, off a farm in the Midwest.
This idea, as you know, that I have firm convictions that the idea of issues being a big deal where our mutual friend went back and he felt so strongly that the determining factor in electoral success should be a proven character.
I have not thought too much about the psychology or life of the character Jonas in some time.
I think the more experience I have working on films, the more I can shed that character rather than carrying around that heavy weight.
Besides the mistakes that are pointed out, I love the way readers become involved with the characters. When readers start asking about character motivations instead of concentrating on the special effects, it means you're connecting with them on a personal level.
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'll see a photograph of a character and try to copy them on to my face. I think I'm really observant, and thinking how a person is put together, seeing them on the street and noticing subtle things about them that make them who they are.
Every part I play is just a variant of my own personality. No real character actor, of course, just me.
Growing up, I was a very shy kid but I felt that being on stage or playing another character would somehow open me up. And I think it did.
One day, my twin sister Sidra and I pranked Tyler Perry on the set of 'For Better or Worse.' I made her dress up as me and do a scene as if she were my character Angela. Tyler says, 'Action!' and my sister starts acting. It was horrible.
The pitch, timbre, volume, speed, and cadence of your voice, the speed with which you speak, and even the way you modulate pitch and loudness, are all hugely influential factors in how convincing you are and how people judge your state of mind and character.
No one goes through life thinking that they're the best friend of the lead character.
When you take a character seriously, there's more room for comedy because you're not aware of how absurd you are.
The process of rehearsal means you learn so much and really get the chance to develop your work on a character.
I suppose people hadn't really thought each decade should have its own character and be different from the others till the 1920s, although I remember in a nineteenth-century Russian novel someone remarked that a character was a typical man of the 1830s - progressive and an atheist.
I remember once seeing a guy in the grocery store who looked so much like my character the Archangel Gabriel, I wanted to go up to him and say, 'Hey, put that Red Bull down. You've already got wings.' My friend had to sternly remind me that he was a stranger and I did not, in fact, create him.
There is no index of character so sure as the voice.
I created this picture of this character who would play the guitar effortlessly, who had no limitations, performing beautiful music, and he moved around with great acrobatic skills, just capturing the audience and being a great entertainer.
What Tim does is, he calls me and sends me the script. And then he sends me a drawing, an illustration of his image of me as the character. It's so great.
Every character I approach, from 'Forrest Gump' all the way up to 'The Spoils Before Dying,' has a different set of requirements and always fascinates me.
The last thing a director needs is an actress who feels an ownership towards a particular character.
I wrote this script in 2003, when I was a humble college student, sitting in my boxers and writing in my dorm room. And I came up with the idea of writing an action-based 'Snow White,' with this kind of Huntsman character as kind of a way in. So, that's something I'm sort of proud of.
Acting always affects every part of your life because it's such a solitary, lonely, and thrilling circumstance that you're taking on someone else's character and that responsibility. It's exhausting.
Food is important in working out a character. How she eats is a window into her temperament. If I think she likes her food, I'll put on a few pounds, or lose a few if she lives on her nerves.
