I don't want to miss out on the good stuff. As long as the character is good and the show is good, the medium does not matter to me. There are a few makers that I have an enormous trust in and that I know will do an amazing job.
Every actor is a character actor.
It's hard sometimes if you think a character should look a certain way and you're being pushed to do it differently. I've had fights over that. That's why it's so important that you work with good people.
Any character can find an audience and work if you have passion for that character. You might have to just scrape off the dirt and the barnacles and pull it out and highlight it.
I am a method actor, but I'm also a film actor as well as a method actor. Characters that don't have humility, whether they are heroes or villains, are hard to relate to. All characters in every aspect of what we do should have humility. If they don't, then they're a cartoon character.
What I truly get excited about is not the genre of a movie or the size of a part - it's character. I like to find characters.
Every once in a while I go off to do a movie or a television series and I take my art with me. I can stay in character when I paint.
I would like any type of character that I could be creative with and totally delve into.
I make up names for people all the time - it's part of writing. Very often, the name comes with the character, along with of a sense of who they are and what they do.
It is a tough job to portray a character and make it believable on screen.
How you look is part of what acting is, but the way I look at it, every actor is a character actor. Someone once told me at a casting, 'You're a character actor in a leading man's body,' and I can live with that.
What I've learned in my life, it's a very interesting social study for me, to go back and forth between being the guy at home and being the guy on the road and being the guy in studio and being the guy in the interview. The environment around you has so much to do with your character, and when I'm home, my character really changes quite a bit.
As a writer, I feel like your favorite character shouldn't be safe.
Human character is just endlessly fascinating, and there is no character who is one thing any more than any one person is just one thing. As you work on a character, he/she is revealed more and more. That's what I continue to love about the work.
Joanna is a strong female character, and I love playing her. But one of the things about her is that she always says exactly what she's thinking.
I think of House as a deeply moral character, though some would no doubt argue with me. He does not judge. Beyond his normal tetchiness, there were no more than a half-dozen moments of actual condemnation from him. He understood lies and also why you lied, and there was an absolution there that is very, very appealing.
I don't have to be concerned about everybody else's character.
The young people I work with every day and serve the nation in the armed forces in general, and the Marine Corps in particular, have broken the mold and stepped out as men and women of character who are making their own way in life while protecting ours.
I'd like to think that the door is always open for just the best actor for the role, you know? Race or gender shouldn't have anything to do with it, unless the character or story is focused on that for some particular reason.
I never personalize anything because I think that can be dangerous. For me, the best way is - this may sound pretentious - but it's to breathe the character and get into the psychology of it.
Whenever people say they didn't like the main character of a book, they mean they didn't like the book. The main character has to be a friend? I don't get that.
I think for everyone it's good to have your own personal work on a character and a film before you even start rehearsing, to have an inner life.
I really prefer the actual experience of being onstage and living the character from beginning to end with the energy of the audience. There's nothing that beats that feeling, and yet I really have trouble with the eight shows a week.
Each performance and each film is what it is. It's right and belongs within that moment. You look at it and try to make it fit your particular part of your character and your particular film.
I'm not interested in playing characters who see the world through my prism; I think the journey of understanding any character is to see how they tick and how they differ from you.
All I ever wanted to do was get a great job on a TV show. When I read 'Modern Family' and started looking at what was available - I obviously couldn't play Gloria; I couldn't play Claire. When I saw the character of Cam, I was like, 'I have to have a shot at this,' because I thought it was a character that would be really fun to play.
Everybody said, 'You hit it so big when you were on 'Ally McBeal.' ' I didn't do anything for a year after 'Ally McBeal,' and I had to write David Kelley to get myself back on 'Ally' a second time because I thought the character should be on again.
It ended up being a very good thing, because they finally started writing for the character, and I realized that you have to go to work with a purpose. I learned from the experience and then moved on.
With film roles, it just has to be a character either I haven't done before, or a role with somebody really interesting or with an interesting person or group of people.
Part of what my work has always been about is to show that the apocalyptic character of the gospel makes the everyday possible. It gives us the time that lets us care for one another as we are ill, helps us care for one another as we experience broken relationships, and helps us take the time to worship God in a world of such violence.
The Italian character in general is full of animation, and the natives enter into the interests and welfare of the stranger before them with a fervor that forbids all doubt of its sincerity and that is truly surprising.
I'm drawn to the classic antihero, the guy who's probably made a bunch of mistakes and really has the capacity to go either way. That's the most interesting type of character for me to watch, to see what decisions they'll make. There's a lot of gray area there for a writer to explore.
In most films - especially in regards to the protagonist - really from the get-go they set up some scenario that endears that character to the audience. Or imbues him with some nobility or heroism or something.
Being an actor is a lot more involved than many people realize; there are hundreds of ways to play any character. Even for a stylized bad guy, there are 4 or 5 different personalities I can play off the top of my head without thinking - better and more experienced actors can do dozens or hundreds.
You don't want to be ungenerous toward people who give you prizes, but it is never the social or political message that interests me in a novel. I begin with an interest in a relationship, a situation, a character.
Good and bad are really arbitrary words when it comes to character.