Hope and Crosby made seven 'Road' movies, starting in 1940 with 'Road to Singapore.' The movies were always about Crosby and Hope fleeing America and finding Dorothy Lamour in some exotic location. Bob's character was cocky and cowardly; Bing's character was smooth and unruffled. They were great characters - lousy, lovable guys.
I always say, what is cool for me with 'The Conjuring', is it's not just another scary set piece or another scary case; it's more about what I can do with the characters of Ed and Lorraine Warren.
I expect that any day now, I will have said all I have to say; I'll have used up all my characters, and then I'll be free to get on with my real life.
All the people in Star Trek will always be known as those characters. And what characters to have attached to your name in life! The show is such a phenomenon all over the world.
You can fake your age or mask it, but the passion that moves the characters has to be real.
The writer of stories or of novels settles on men and imitates them; he exhausts the possibilities of his characters.
I guess there's a certain amount of poking fun at certain characters, but that's because there is something amusing about them or about the way they behave, so I guess you can say that that's poking fun at the character. But the character is your own invention, so who cares?
I feel that in horror movies, especially, if you don't care about the characters, you've lost the audience. No one cares, and it becomes a process of watching people get killed.
I just want the opportunity to continue to do great films, play great characters and work with great people.
Over the years, I have been asked to play these sort of scary frenetic characters that express their emotions physically.
I've always tried to have a healthy take on the characters I play; they are only characters I play.
I cannot be much pleased without an appearance of truth; at least of possibility I wish the history to be natural though the sentiments are refined; and the characters to be probable, though their behaviour is excelling.
I get pretty attached to the majority of the characters I play. I can't help myself.
I am, as are most writers, just hugely obsessive, and so are many of my closest friends, who tend to be writers or scientists. It's a trait of human nature that I'm particularly in touch with. So I tend to project it onto my characters.
The black characters on TV are the sidekicks, or they're insignificant. You could put all the black sidekicks on one show, and it would be the most boring, one-dimensional show ever. Even look at the black women on 'Community' and 'Parks and Recreation' - they are the archetype of the large black women on television. Snide and sassy.
People were confused by me, and at first I was auditioning a lot for the crazy characters or the victim, someone who'd been attacked. Which is great, because usually those are the best acting roles.
I only work with actors who take full responsibility for their characters.
Dan Harmon has this idea that characters on TV are allowed to talk about their favorite movies and TV shows and songs.
In a lot of films, they're showing more complete, developed characters of diverse ethnic backgrounds. The larger concern is to be able to tastefully explore the stereotypes, and still move past them to see the core of people.
I'm a little hesitant to make my characters sentimental or to risk having the work labeled sentimental. It's something that I resist as a reader, and I don't resist it in life. I'm not an unmoved person by any stretch, but I think I don't want, I guess, to indulge those kinds of things sometimes in fiction. I can't tell you why exactly.
I think it's fun to play with worlds that you can add a lot of your own imagination to. With 'True Blood,' you're not limited by anything, there are just leaps and bounds of the imagination you can take with these characters.
The key for me with historical characters is they're interesting because they're human beings. A little bit of Hemingway goes a long way here, but journalists and writers should honestly look at their material and have a real interest, a real passion in what they want to write, and they should also have a lot of knowledge as well.
One of the things I learned very early on is you need to cast the kids for the characters you want them to play. They need to be who they are, right? If you want a loud, boisterous kid character, you need to find that kid.
That's the best way to work on a project: talk to the director. In the end, it's the director's idea of how they perceive the movie and how they perceive the characters.
Like any actor, I want to be able to have a long career and show different characters and a range.
Comics as art. I do comics as comics, and my opportunity to tell stories. Simple. Basic. Let the characters have the excitement, not the package. That's where I come from.
In Halloween, I viewed the characters as simply normal teenagers. Laurie, Jamie Lee's character, was shy and somewhat repressed. And Michael Myers, the killer, is definitely repressed. They have certain similarities.
When I play supernatural characters in 'Ghost Rider' or 'City Of Angels,' the possibilities are limitless. The possibilities are endless, you can do so much with that.
If the novelist shares his or her problems with the characters, he or she is able to study his personal unconscious.
I always feel that crime films are about capitalism because it is a genre where it is perfectly acceptable for all the characters to be motivated by the desire for money. In some ways, the crime film is the most honest American film because it portrays Americans as I experience a lot of them, in Hollywood, as being very concerned with money.
My characters are driven by a passionate desire for justice. They are rebellious and incorruptible.
I think all interesting characters have some kind of a complex.
I decided to give acting a serious, committed try, and soon after, I read the script for 'Lovely and Amazing.' The story was beautiful and honest, and the characters struggled with the same insecurities many women - including me - face. I didn't think I had a chance in hell of being in the film, but I knew I had to go for it.
When I'm happiest writing is just not knowing where it goes and just let the characters bring you there.
Many people are taking 2D games and making them into 3D games by recreating the characters in polygons. But the gameplay's still the same, and that's not what they should be doing.
This was more of a cartoonish thing for me and it kind of took me back to SCTV, in a way, where the characters are just a little broader and you can have that kind of fun going a little over the edge.
