Actors need to learn when their character is front and center and when it's more in the background.
I must thank my good friend Nigel Brennan. His strength of character in the midst of extreme hardship inspired me during the darkest days. Despite our separation, he always managed to find small ways to remind me that there are gentlemen in the world, even when I was surrounded by just the opposite.
Every audience has its character; I like America - they love me. I suffer from stage fright, but in America not so much.
Knowing that you have something you have to deal with, rising to the occasion, builds character.
Psychologically, I'll always be a fat girl because that's what my character is built on. I always got a buzz out of people telling me I was ugly. I went out of my way to un-beautify myself. I didn't want anyone's approval.
I tend to write one character at a time. But I don't write the entirety of one character at a time.
Mrs. Miniver was an ordinary middle-class English housewife, a character created by Jan Struther when she was commissioned by the 'Times of London' to write a weekly 'cheer-up' article in 1937.
The way I work is I like to immerse myself in the world of the film and in the character's lives, and then from that, I get a lot of ideas of how the film could be made, how it could be told.
So I've tried to be this very eccentric character, and that works very well if you want to be a painter which I did once upon a time, if you want to be a musician which I did once upon a time. But if you want to make movies and you want to make challenging movies, you've got to be the sanest person in the room.
If you end up growing a character too quickly, you don't have anywhere to go after that point.
Well, the medium of film is so different than a book that just by bringing it into visual storytelling is to change it up. I think in a book, in any book, you can have a reactive character. Some of the great novels of all time have had that, but in a film you can't do that.
I would say I locked into my persona pretty early; I wouldn't say it's how I am naturally, but it's how I am naturally when I'm on a stage in front of people. That anxiety makes me be the character that I am.
When you look at someone good like J.J. Abrams who gives you the spectacle and great action set pieces but also gives you character and great story and plotting and narrative, I think it's my job - and my intention - to do both.
Blurryface is a fictional character and a reference to insecurities, which I think all people have.
I remember, working on 'Lost,' I learned very quickly the way that I had to approach the material or even ask the director questions. It was always prefaced with, 'Would it be wrong for me to assume?' Because I didn't know where my character on 'Lost' was going.
I definitely try my best not to stay in character when I'm not on set, which can be more difficult in some roles than others.
Superman is the hardest character to draw. There are a couple of things that make him difficult. He's got a very simple costume and doesn't have the long cape like Batman. He's not a character that is necessarily always in shadow, and he doesn't have a mask.
If you're a movie star, you get the girl, you lose the girl, and then you get her back. But if you're a character like me, you lose the girl, then you get another one, then you get another one, then you lose them all, then you lose your life.
I would stay on, but 'General Hospital' honestly doesn't seem to want that relationship with this character at the moment. They want little short doses during sweeps periods.
I know it sounds silly, but in auditions for film or TV, the words aren't as important - you need to get into the character and have the gist of the scene. But in theater, if you don't do it word for word, then you throw off your scene partner.
When I play the trumpet, I'm in a different character.
You have the wookie character, which is one of the biggest aliens in 'Defiance.' These guys are just walking about with these mechanical faces on, and it actually looks insane. The amount of diversity of all the aliens in the town is quite unbelievable.
A guy's who has all the money he needs and never faced any hard times, he won't have any character. But when you've had it tough and you've had it rough and you thought you were at the end of the rope and you work your way out of it, that's the way you build character.
When my mother tells me to do something, I'll do my own thing. A strong character can be good, but sometimes it is not good. I hope it's good in my case.
If you're entering a room for the first time, do it the way you would in life - look around; see how they have the furniture arranged. If your character is meeting another character for the first time, meet them the way you would in life.
Having a sweet, wide-eyed, awkward character is more charming and allows for more range. If you come from anger, you're going to reach a ceiling very quickly.
I would really love to direct one day. I think there are certain actors who love the character and the performance and that's all they want to be a part of.
There's an institution here called the National Sound Archive, and there's a character who works there, Paul Wilson. He takes a very special interest in the history of the music and advised Martin Davidson of the existence of these tapes.
Rag & bone images always reflect the authenticity of the brand. Their images have character and tell a story.
Sometimes you become a character, and sometimes the character becomes you.
I'm an actor, so I think without a character to play, a story to tell, a song to sing... there's some suspicion that there's no 'there' there. Like, if I were to just strip down and present myself, I think I'd sort of just... disappear.
I have a strong and strange character, and I've rarely met directors who knew what to do with this character. One of the few who did was my father, and in the theatre, Arthur Nauzyciel.
I believe that as a writer and a director, you're only providing the skeleton of a character, and you're hiring actors to fill it out.
I think what's fun about the Western genre is the character arcs are very strong and, arguably, more interesting and exciting than the action that is metaphorically representational of those arcs.
I feel like I've done Pete Hornberger, and that is a painting I have signed, and I don't need to play that character anymore. So I'll get offers for panicky, pathetic guys, and while it's a great compliment to get them, I feel like I don't need to play that again.
Success is the only motivational factor that a boy with character needs.
