Accents influence a performance. If you look at Stanislavski, he says work from the in to the out, and I probably overall work the other way. I find an accent and a mood, and that influences the character massively.
It is not possible to conceive a democratic Guatemala, free and independent, without the indigenous identity shaping its character into all aspects of national existence.
I definitely have character arcs in mind for each character unless I kill them.
I find with television, you have to play personality, whereas onstage, everyone talks about 'the character,' and what you do. It's a very different thing, because stage is much bigger, but on television, for things to come across to the public, I think you have to play a bit of your personality.
I look at improvising as a prolonged game of chess. There's an opening gambit with your pawn in a complex game I have with one character, and lots of side games with other characters, and another game with myself - and in each game you make all these tiny, tiny moves that get you to the endgame.
When you create those characters that people love and care about and put them in a dark hallway, already the audience is on edge, and they feel empathy for that character. Then it's up to me to decide what jumps out in that hallway. So I think laying that foundation of strong characters and strong story is the most important thing in a horror film.
Men of genius are not quick judges of character. Deep thinking and high imagining blunt that trivial instinct by which you and I size people up.
No, I feel like my personality probably influenced the character, more than the character influenced me.
Each of us is meant to have a character all our own, to be what no other can exactly be, and do what no other can exactly do.
It's great playing a mature character. It adds something.
What are the aspects of yourself that line up with the character? You magnify those, and the ones that don't match up you kind of kick to the curb.
Ability may get you to the top, but it takes character to keep you there.
There's nothing worse - I don't like listening to actors talk about the process, especially when - I mean, for me I've played a lot of guys, dudes, boys in a sense and this was a challenge for me just to play that official character.
You can't take a character anywhere they don't expect the character to go. But within those confines is where creativity lies.
It's always interesting to play a character that obviously has a secret.
One of the most beautiful things about 'Game of Thrones' is it's told from so many different points of view, and these characters can convince you that what they're doing is right. But they're only showing you a bit of the picture, and when you see it from another character's point of view you may switch allegiances.
I had the sets that meant so much to this character built - right in my home, especially the kitchen, which was important both for her character and for your introduction to her when Albert comes to visit.
Organic buildings are the strength and lightness of the spiders' spinning, buildings qualified by light, bred by native character to environment, married to the ground.
But really, for the most part - doing a prequel is great because you do have room to kind of free this character and how they got to where they are instead of being a slave to exactly what the previous actor did.
If I had to choose criteria, for me, it's about first the director. I want to be a part of something that's good and intellectually challenging. After the director it's the character and the story. That's the deal for me.
The only problem with the way they do my character is that they have her get redeemed too early.
For the first half of this century, High Court judges have been cautious to the point of timidity in expressing any criticism of governmental action; the independence of the judiciary has been of a decidedly subordinate character.
I've gone very far, far away, but my character keeps me close to home.
To have one's own story told by a third party who doesn't know that the character in question is himself the hero of the story being told, that's a technical refinement.
Modern thought has transferred the spectral character of Death to the notion of time itself. Time has become Death triumphant over all.
Look - I'm an African-American. I'm black. But I'm just looking at the character and trying to find his soul, his energy. If you can wipe away the blanket of skin and flesh that people tend to see, and look inside for the essence of the soul, then that's the work I'm doing. That's the work I always do.
Oh, my gosh! Can you imagine learning boxing from Sylvester Stallone's character? I would die!
Because Naughty Dog relies on their facial team to hand animate the faces of each game character and they do such a remarkable job, I think you can be more realistic with your acting. It gives the story and what's happening to you the feeling that it's a game.
Always, your work is the same: You have to tell a story, you have to make a character. It doesn't matter if there are thousands of dollars, millions behind it, or if there is nothing.
I'm not a child star, but you could say that I've grown up on TV. I went from being an unknown, down-and-out comic from Brooklyn and the Bronx to being a regular character on a major network comedy called 'Martin.' From there I went on to become the most notable black comic on 'Saturday Night Live' since Eddie Murphy.
Every man should be considered as having a right to the character which he deserves; that is, to be spoken of according to his actions.
I've always thought of myself as more of a character actress. I've tried to do different things, but I've always been under the radar and that's how I like it. I've been really blessed to work this long and I just hope I continue to get better and better and better and better.
When forced to survive in an apocalyptic world, there are some characters that embrace their higher selves with some emerging as natural born leaders, and others succumb to their more base and primal selves and basically transform into savages. It's really a fascinating character study in the exploration of the human psyche.
My character in 'La Haine,' he's not bad; he's unhappy, and usually, people are like that. Most of us are angry.
Casting is everything. Getting the person that you imagined is this character and then seeing what they bring to it.
Inside of all the makeup and the character and makeup, it's you, and I think that's what the audience is really interested in... you, how you're going to cope with the situation, the obstacles, the troubles that the writer put in front of you.
