It is the task of several months and it is a fact that a girl, either while rehearsing or actually playing, may be training for some character or feature in some future production not yet definitely fixed even in my own mind.
I started improvising the Cliff character, based on someone I grew up with.
The movies are all about visual, and television is all about character and dialogue.
I started writing morning pages just to keep my hand in, you know, just because I was a writer and I didn't know what else to do but write. And then one day as I was writing, a character came sort of strolling in and I realized, Oh my God, I don't have to be just a screenwriter. I can write novels.
The highest qualities of character... must be earned.
When I'm acting in TV or movies, I'm a character. But when I'm doing music, I'm Trevor Jackson.
I think you have to find the humanity in the character and then the deterioration is a part of the process - the journey of the character. It's like playing King Lear. You can start off as a nice old man who finishes up crazy.
JR was a 1-dimensional, evil character. JR was multi-dimensional, and Larry Hagman is probably one of the greatest actors that we have. Then, you go back and look at 'I Dream of Jeannie' - I mean, he's a comic genius, as well. So, I think they should give him an honorary Emmy Award.
I thought he was an interesting central figure, central character, one who is definitely not your typical central character figure in a film, who's easy to like. He's not easy to like. It forces you to involve yourself with what's going on.
As an actor, it's hard to approach any character with negatives.
It's usually easier for me to begin writing in a character's voice if that person is different from me in some significant way.
When we see persons of worth, we should think of equaling them; when we see persons of a contrary character, we should turn inwards and examine ourselves.
The Japanese have a strong tendency to suppress their own feelings. That's the Japanese character. They kill their own emotions.
I think it's very easy to disgust the reader with violence on the page - that's incredibly easy - but it's far harder to make a reader care about a character.
Pop managers are fixed in the dramatic stock character repertoire too, ever since the first British pop film musical, Wolf Mankowitz's 'Expresso Bongo' of 1959, with Cliff Richard as Bongo Herbert and Laurence Harvey as his manager. The key components were cast as X parts gay, X parts Jewish and triple X opportunistic.
I tend to play every color in the Southern rainbow, and the challenge is to make each character different so I'm not doing any generic 'Southern acting.'
I didn't need clothes. I was allowed the opportunity to act out moments you don't get the opportunity to experience in your own life, let alone as a character in a film. I didn't feel naked.
When I was working on Eye of the Beholder, I played a character who is so aloof that my whole lifestyle became very aloof. If someone knocked on my door, there was a part of me that went into a rage, because I wanted to be isolated and alone.
I enjoy being a character actor; I enjoy being different in everything. I want a private life; I want to be able to go to 7-11 and not get into a fight with a guy because he saw me in a movie, or not have people hitting on me simply because they saw me in a movie.
Poirot is a classic character from fiction, not a MacBook Air; he would not benefit from updates.
There has been a big debate about it: can a black man play a Nordic character?
But at the same time, the commonplace statement about them is true: every character is the hero of his own story. Each has a justification for his actions that is convincing to him. It's fun to give these people voices.
The willow which bends to the tempest, often escapes better than the oak which resists it; and so in great calamities, it sometimes happens that light and frivolous spirits recover their elasticity and presence of mind sooner than those of a loftier character.
I hope to be known as a chameleon actress, as someone who can play any part out there, and someone who can transform herself into any kind of character there is.
Writing a children's book means you cannot spin out long narratives or have complex character development.
It is energy - the central element of which is will - that produces the miracle that is enthusiasm in all ages. Everywhere it is what is called force of character and the sustaining power of all great action.
I do whatever I need to do to get into character. Sometimes it's being incredibly quiet, and sometimes it's being loose and goofy.
No one wants to see me struggling to get a horse under control because I can't ride it. And no one wants to see me not knowing how to deal with the psychological makeup of the character.
The characters can't be wittier than people are in real life. They have to be character witty.
I enjoy catching our show whenever I can. It does get very weird to watch myself, it's always been that way, but at the same time, it's part of my job to see what kind of job I'm doing and to get a perspective on where I'm taking the character.
There was a moment with 'Zootopia' where we said, 'This is the experiment: let's try Judy in the role of the protagonist. Let her character introduce us to the city and this world.' And suddenly, all that struggling and trying to make traction into this story was done.
I always think of the character as being me. But me wearing a 'coat', which may be a different way of speaking, moving or regarding other people. To me, acting is pretending, just like kids playing, only you pretend as if it were really, really real.
Character develops itself in the stream of life.
I'm always more motivated by the pain of a funny character than by what makes him funny.
Whatever you may think of Mrs. Clinton as a character, I think she believes quite strongly in public service.
Then I wanted the character to be feminine as opposed to effeminate. Because it's easy to be camp or queen. Anyone can do that. What's difficult is to play feminine.
