I'm naturally going to react to that and he'll bring out elements in my musical character that were lying dormant, because I'm relating what he's playing.
It is not true that drink changes a man's character. It may reveal it more clearly.
I was doing Hamlet in the off-season, and I had a specific idea in my mind about what I wanted that character to look like, and because it's going to lead into the next year, I knew that it was going to have to be established somewhere in the show.
I've had some interesting roles along the way, but they tend to be cause-driven. They're always about something. There isn't time for character work as an actor because you're fighting the cause or mourning the child or fighting the disease, etc.
With the wacky jokes that we do on 'Great News,' you do overall still want to be coming from a place of truth with your character because, otherwise, it's just off the walls.
I'm a character and a sports entertainer and a wrestler, but I'm also a father and a husband and a provider.
I really love the idea of stepping into another character and being able to sing maybe stuff that is not my thought and my own opinions, but be able to portray someone else and take a walk in their shoes for a while.
You play your character and it isn't right to step out of it. You have to stay in that character.
On the pitch, I will always be like that. That's my character, and I will always compete and compete - always. I'm a different guy off the pitch, as you can see, but on the pitch, I will not change.
I think the writers of 'Community' have moved on from my character. I'm pretty sure. I would love to go back on. I had a really good time and I really liked that character, but I don't think it's going to happen.
I was always a clown. In the eighth grade I won a city speech contest by doing an Eddie Murphy routine. I'm no good at public speaking, but if I can assume a role and speak as that person, then I'm fine. When I had to give a book report, I always did it in character.
No author ever drew a character consistent to human nature, but he was forced to ascribe to it many inconsistencies.
The Miguel Syjuco character is not me. I wanted him to represent my own fears and frustrations and guilt, my own worst tendencies and my optimistic expectations. He's a cautionary tale for me. But he's also an examination of the darkest things that haunt me as a person.
I just sort of take it from a character perspective, and I don't know if he was necessarily spiritual, but I do think he had hope. He was a character that was comfortable having hope in his life, and hope is faith.
It's never been a priority for me to concentrate on the likability of the character.
London has always provided the landscape for my imagination. It becomes a character - a living being - within each of my books.
God is a character, a real and consistent being, or He is nothing. If God did a miracle He would deny His own nature and the universe would simply blow up, vanish, become nothing.
'Ray Donovan' was all fiction and pure fun, to be working with such greats as Liev Schreiber and Jon Voight. My character was recurring, but my storyline was intricate to the whole thing. With the character that I played, I got to go through all aspects of my instrument. I got to bring it to tears and to laughter.
I was born with an adult head and a tiny body. Like a 'Peanuts' character.
Technique is of less interest than character and story.
All my stories are about the action of grace on a character who is not very willing to support it, but most people think of these stories as hard, hopeless and brutal.
Every age develops its own peculiar forms of pathology, which express in exaggerated form its underlying character structure.
Creating a character is about what they look like. The look speaks volume to the audience.
There's nothing in the American dream about character. It's a serious flaw.
It is from the blues that all that may be called American music derives its most distinctive character.
I had been very impressed with the voiceover of 'Apocalypse Now,' with Martin Sheen's voice. That was a great voiceover; it really internalized the Martin Sheen character, who was essentially fairly low key and didn't say a lot during the whole movie. But he thought a lot, so I always thought that was really great.
In 'Out of the Dark,' I'm talking about my own life. I'm not talking as a character or speaking as a character. I was not as free as when I write fiction.
When you go in and do a cool, small character, it feels less like work and more like fun.
I would say that playing this character has caused me to think about a lot of things. He's always questioning himself and trying to get back to something he lost touch with and trying to find forgiveness. Everybody struggles with these things to some extent in their life.
I leave to the militarists the difficult task of trying to explain to us how these wars have served to shape character or to promote the progress of civilization or to achieve the reign of justice on earth. So far, they have not come forward with the explanation.
Washington's character was rock solid. He came to stand for the new nation and its republican virtues, which was why he became our first President by unanimous choice.
My character and good name are in my own keeping. Life with disgrace is dreadful. A glorious death is to be envied.
The strike of the miners in Arizona was one of the most remarkable strikes in the history of the American labor movement. Its peaceful character, its successful outcome, were due to that most remarkable character, Governor Hunt.
When you do a play, or even a movie, you have weeks to finesse your character. You really understand why they do what they do. In TV, you get new material weekly about your character.
Any time you learn something new about your character, that's really exciting.
It is the creator of fiction's point of view; it is the character who interests him. Sometimes he wants to convince the reader that the story he is telling is as interesting as universal history.
