I would ask to tweak stuff during the action, because I thought Elektra would more likely express herself with a slap, for example. I wanted to keep the characteristics of my character even during the fights and express the violence as she would do it, not like somebody else would.
At the heart of every story is conflict - whether external or internal, make it a good one, and remember that this problem is going to shape your character, leaving her forever changed.
I love scoring. Putting music to picture is a rewarding challenge and one that relies on interpretation of emotion - as in, what is the pivotal feeling in a scene and which character's point of view is driving it at any given moment?
The great hope of society is in individual character.
There's two sides to Trump's character, at least his pre-presidential character. One was, 'I'm the richest man you could possibly imagine, I live the life of Scrooge McDuck.' The other side was, 'I need your money. Give me money.'
This is actually something no one knows, but my mom was really the one who created the entire style for 'Teen Witch.' I'm dead serious. She was super involved, and is super creative, so I wore a lot of my actual clothes in the movie. Truly, Louise was my mom's vision. She really created an iconic character.
You have to look for story. That's obvious. If that's not on the page, you can forget it. But I also read whatever character I'm being offered. And if you can cut them out without it affecting the story, then I say no straight away.
There are a lot of times when Jessica Jones is alone in her house, and there's no dialogue. She's rough around the edges, so getting to spend that time with her and see her be vulnerable and process the weight of her world is what makes the character so likable.
I guess my personality is that of a modern, strong Chinese woman. I don't believe in destiny. There are many things that can be changed. I don't like to be defeated by difficulties. I love freedom, so when I am shaping a character, I usually do it the way I want. I always find some part of my own character in a role.
I've never been interested in watching or reading anything because it's the hero's story. I don't feel the need to be inspired by the character or learn a lesson. I feel the need to be engaged by them.
I don't worry about whether a character is likable, as long as the character is believable.
I don't see a difference between the idea of what an actor does and what someone supposes a character actor is, really.
Once you buy into a television show, there doesn't have to be resolution from week to week. You can develop characters and storylines and react to the audience, so you get more of a serialized version of storytelling where you can go much deeper into each character. It's more like a novel.
I love actors. I love working with actors. I really enjoy the process. I love having those in-depth discussions about the interior of their character, and actors really love to discuss that, too. I could talk about that for days with them. They love that, and I love that.
To portray an iconic character has been brilliant in itself, and to be able to do that on a show like 'Once Upon a Time' enhances that because the show puts a spin on characters and makes them very different and puts core values that are very different that aren't in the original fairy tales a lot of people relate to.
'The Good Wife' was definitely the biggest surprise and gift that I've had in a long time, and that did come out of some other work that I had done. That whole adage of 'work begets work' actually worked in that case - it was at the very end of their first season that my character was first introduced.
I try to create as many circumstances outside of set that help me fall into character when I get onto set.
Actors usually respond to minor aspects of their own character or things that even feel disparate from themselves.
My character from 'Panda Eyes,' Fay, is the character I see myself in a lot.
In papergaming, players can look at a character sheet of their own creation and see all of their skills, right there, in black and white.
In any character I ever play, whether she's good or bad or whatever, my most important thing is heart.
The real evil with which we have to contend is not the physical evil of the Famine, but the moral evil of the selfish, perverse and turbulent character of the people.
I think the first thing is don't give up. If you love the craft. If you love being a detective and discovering who a character is and the detail of how they walk and what kind of shoes they wear and what did they do yesterday and what's important to them. I definitely advise actors to learn about the craft.
I always put myself in the audience's place and see if, as a viewer, I would want to see the film. If yes, then I want to know who's directing it, what my character is, and if it's impactful. If all these points fall in place, I'll do the film. If not, then I won't think twice before saying no.
It's been amazing to play a character that's known by so many people, especially because everyone knows at least something about Peter Pan.
Quite honestly, I think that if you are making a lot of television programs with a central character, then ultimately it can become boring if you know nothing about them. I personally want to know, or get to know, things about a character. It doesn't mean to say that they still can't have a certain mystery about them.
I was a supporting character in other people's lives, which seemed right and familiar to me. I was also an outsider: English in the U.S., American in England, dogged yet comforted by that familiar feeling of alien-ness, which occupied that space where my sense of self should have been.
When you are signing a film, you should not miss the beginning process which involves workshops and discussions; otherwise, it is difficult to understand the character.
I think it's very important to write a demythologized woman character. My characters are flawed. They are no better than they should be.
Age, style, where you come from, where you were born, it's different every time, which, to me, is refreshing because it says that there isn't any one thing, one formula or kind of character that makes a great comedian. Everybody has had a different approach.
That's part of what always fascinated me about the Flash. Yes, he had superpowers, but he wasn't superhuman. He was vulnerable. He could be hurt or killed. He's not getting in a jet. He actually is the jet. So he had this gift, but with it came this risk. And I think that's what makes the character relatable.
Whatever story you're telling in Louisiana, the landscape is going to become a character in it.
I'd say I'm a pretty intense person. I'm definitely not my Denise character on 'Scrubs,' nor my Jane character on 'Happy Endings,' but I'm a mix of the two. I really feel that I'm kind of every character that I've ever played; it's just a part of me. And I am a bit of a control freak like Jane. I'm very, perhaps, obsessive like that.
It's my privilege to work with an actor like Vikram who gets into the skin of the character he is playing, so much so that after the shoot it takes him quite some time to get back to his real self.
It is with passion that I love my job. But it is with character that I am able to keep looking forward. Not just beyond criticism or bad results, but also beyond the good moments, too. Everything has to be a balance.
Anne Boleyn is an intriguing character. She seems to appeal to modern-day women in a very potent way. Because she was such an independently opinionated and spirited young woman, which at the time was unheard of.
