There is something I feel when I animate something; you can never really understand the character you're animating unless you've had the opportunity to turn it around. Once you've done that, you know it is a three-dimensional object.
I don't think my spirituality has affected my character. I feel like my character is much more cynical about his beliefs, and I think I have to kind of drop what I believe in order to play him.
Of all the properties which belong to honorable men, not one is so highly prized as that of character.
Individuality is founded in feeling; and the recesses of feeling, the darker, blinder strata of character, are the only places in the world in which we catch real fact in the making, and directly perceive how events happen, and how work is actually done.
Every time I do a film, I have to make sure that when someone looks at me, they can't recognise Disha. It has to be a character. I want to do strong roles.
Crime is the price society pays for abandoning character.
Some of the greatest actors on the planet are the most insecure people. Now I don't know if that insecurity necessarily equates to a lack of confidence. Some people are just very shy individuals. You give them a character to play and a script, and you put them in front of a camera or on a stage, and they just go.
One of the things I liked about my character in 'Run' is that she can just disappear into the background if she wants, which is what I'm like.
It's all about exploring the more unpredictable aspects in the character, not just fighting people.
I just can't feel lukewarm about a character. I either despise her, admire her, or don't understand her and want to understand her.
I love it when ugliness is beautiful. I love character flaws.
I've always been a huge fan of Charles Lawton's performance in 'The Hunchback of Notre Dame,' so somewhere along the line, I've always wanted to play that character.
You're doing it to make the character as specific as possible, so that it's a specific individual that you're talking about, not that whole class of people.
I'm the last person who would end up doing something that needs meticulous compilation of facts. It's totally against my character. I live by impulse. I'm totally ill-suited to writing history books.
However dark and profitless, however painful and weary, existence may have become, life is not done, and our Christian character is not won, so long as God has anything left for us to suffer, or anything left for us to do.
I constantly have anxiety about being the lead of the show. I don't talk about it because it scares me, but I've always wanted to be a part of something where I could work on a character in such a big manner, and you get offered that with all the trappings of being the lead of the show.
There were so many lead roles available when I was in my thirties. Once I hit 45, there was a real downturn. But I got an incredibly provocative, delicious lead role in a television series called 'Saving Grace,' and I loved the character.
I love accents; I would love to find more characters with a variety of vocal intonations. It creates a character. It's like you're singing a song. Some people find their character through walking or movement - for me, voice is one of the ways I find parts of the character.
The discipline of desire is the background of character.
If you like quick put-downs and aggressive interactions with the audience, you will probably not enjoy the rambles of an unusual character act making jokes about cats for an hour.
I'm really proud of all the stuff we've built with Green Lantern - from Larfleeze to the different corps. The universe has expanded and will live well past my run. It was more than just telling another story, but really giving back to the character by expanding and adding to their mythology.
Character and emotionality don't always have to be relegated to quieter, more simple constructs.
In terms of jumping into a character's skin, I try to immerse myself in the role as much as possible to bring me closer to them. All I do is what's required to achieve what I want to achieve.
I just gravitate to movies where the mystery is the character himself. Any time you see a trailer of something where somebody is questioning 'Who am I?' I'm hooked.
The thing with movies is, because you have so little time, I always feel like there are more things we could've done with the character. If we'd done a sequel to 'The Thomas Crown Affair,' what would that have been like? But for the most part, you try not to think of that, because it's just going to break your heart.
And while I might not always agree with the viewpoint I have to portray, because I play a district attorney, as an actress I can always tell myself that my character is trying to take the moral high ground.
I've always liked the downtrodden character on different shows. Before 'Parks,' I loved the Toby character on 'The Office.' I do like playing that type of thing.
The interesting part of the process is developing the character, you know, why did he become that? Why is the guy a murderer, or why is this guy a pervert, or whatever he is. So that's the fun part for me to delve into the abyss.
By a great man, however, we mean a man who, because of his spiritual gifts, his character, and other qualities, deserves to be called great and who as a result earns the power to influence others.
You spend so much time developing a character when you do a film; so much of your work is done before you get set to shoot because you've been working on the character: the way he walks, the way he talks, what might upset him, what might make him happy.
I have my ethics and morals. I have my anchor point of what is right and wrong in real life, but I'm not afraid to entertain any and every aspect of personality in relationship to creating a character.
I only have an awareness of what I'm trying to achieve as an actor and what my job as the character is to service.
High moral character is not a precondition for great moral accomplishments.
My experiences in life are getting bigger and better. The more stuff I do, the more stuff I talk about - having kids, traveling, going through relationship problems, dealing with things in my own family. All that stuff builds character.
But as far as the concept of HAL, who HAL was, his character - I had no role in creating him.
Your opening should give the reader a person to focus on. In a short story, this person should turn up almost immediately; he should be integral to the story's main action; he should be an individual, not just a type. In a novel, the main character may take longer to appear: Anna Karenina doesn't show up in her own novel until chapter eighteen.
