Superheroes are modern mythological characters, so you're going to make them look impossible. Even my Krypto The Superdog is the idealisation of the canine form.
My characters - no, make that most characters - are seeking the shelter of narrative resolution, a place of quiet and grace.
I first read 'The Lord of the Rings' as an adolescent. It's a dense novel, a sprawling, complex monster of a book populated with a prolific number of characters caught up in a narrative structure that, frankly, does not lend itself to conventional storytelling.
When you're shooting you go to references in your mind. You think about how you should stand in these particular clothes, or how you should move. You think about the different characters you're playing, really.
I'm not saying that I am all of my characters, but for me to bring a character to life, you've got to be able to find your own truth.
If you do a scene and you really like a character in it or a premise in it to write it down and to work on it so that you can have five or six characters that you can pull out in an audition.
My play Safe Sex was picked apart because critics thought it was untrue. It was a play in which no one had AIDS, but the characters talked about how it was going to change their lives.
I think that the episodes are like mini horror films really; the characters make bad decisions early on and these things just snowball for them and get worse and worse. And that's what I find funny.
No author has created with less emphasis such pathetic characters as Chekhov has.
I actually think the reason I am interested in certain parts is because I was such a dweeb in high school. When you are such a loser, it's a helpful way in to a lot of characters because even very powerful people are not all that powerful, really.
I think you have to be crazy not to want to work on the Joker! I can't think of many characters, heroes or villains, that are as malleable as him. He really can be interpreted in so many different ways, and generally, people don't really want to scratch the surface because you can get into some really dark territory real fast.
One of the beauties of 'The Girl with the Dragon Tattoo' is the very delicate and strange relationship between the two main characters.
When you throw punches at actors, you stop, you pull it, and it looks like you pulled it. When you throw punches at cartoon characters, they are not there, so you can swing through. It looks like you really decked them.
Yeah, you know, within the context of TV families, these are pretty unsavory characters.
I think if you make good, interesting content with compelling story lines and good characters, people will tune into the web for as long as you want them to.
With its vastly complicated plot and its immense cast of characters swirling around the case of Jarndyce vs. Jarndyce that has been grinding away in the Court of Chancery for decades, 'Bleak House' is, for many readers, Dickens's greatest novel.
Women just make interesting characters, especially when you're working against cliches.
I always try to keep in mind that while the characters in a farce may find themselves in outrageous dilemmas, and may behave in a way that the audience finds amusing, the characters themselves don't have the consolation of knowing they're in a comedy.
Other genres are plot-driven, but the entire focus of a romance novel is on the characters and their arcs.
Why not provoke some thought and get people talking about things? I like characters that are flawed because we all are. When people break up in a script, you think, Oh, right, there must be tears shed here. But maybe the fact of the matter is that they're both laughing.
Characters who are on screen from start to finish are not necessarily the ones who have the greatest impact.
I love telling stories. I love the intimacy between the writer and reader. When you write sketches it's over in two minutes. When you write a book the characters have to have a bit of emotional depth.
You have to understand that I'm not just some guy who voices characters in animated movie and TV shows.
I love inventing worlds and characters and settings and scenarios.
I think all the characters in 'American Horror Story,' which is why I love it, are looking for some sense of meaning, and also it's their form of happiness.
I become my characters, and then try to allow events in the story to take their own course. I try not to play God, but to let them work out their own destiny.
Characters can be mysterious and you're not really sure which way they might turn at a given point.
'Star Trek' is a 'Wagon Train' concept - built around characters who travel to worlds 'similar' to our own, and meet the action-adventure-drama which become our stories. Their transportation is the cruiser 'S.S. Yorktown,' performing a well-defined and long-range Exploration-Science-Security mission which helps create our format.
I think people throughout the world identify with my characters.
All cartoon characters and fables must be exaggeration, caricatures. It is the very nature of fantasy and fable.
There are characters that become more popular as we fall in love with them.
I never act my characters - I am them.
John Wells and Christopher Chulack were pretty honest from the get-go in our first meeting about 'Southland.' They were looking to create characters that were believable in the environment of the LAPD - multi-dimensional, layered characters with real flaws; good-hearted cops mixed with the perfect amount of heroism and irony.
Who on earth is going to use 'utilize' in a text message, a whopping seven characters including the always-hard-to-type 'z,' when you can say the exact same thing in three characters? I can't think of a sentence in which 'use' can't replace 'utilize.'
I feel very fortunate to be an actor on a network whose tag line is 'Characters Welcome' and not 'Procedurals Welcome.'
There are a lot of films where I play characters that are about the windows to the interior person rather than the exterior.
