So much of movie acting is in the lighting. And in loving your characters. I try to know them, and with that intimacy comes love. And now, I love Voldemort.
If I was like some of the characters I played, I'd probably be dead by now.
Basically, I think that there are some characters that you can just allow the truth of your character as a human being in your real life to come through.
George Lucas puts those types of characters in for the kids. Same with Jar Jar.
Characters are an extreme form in Shakespeare's theater.
I usually grow sick of my short-story characters and think, 'I never want to see you again.'
For us, a lot of the cartoon and crazy stuff on 'F Is for Family' is tertiary characters; it happens on the television in the show. We try to keep whatever problem the Murphy family is dealing with rooted as much as we can in reality.
I've always kind of ripped from real life to some degree or at least how I'm feeling in the moment. In fact, maybe that's really it. In anything I've ever written, all the characters sound like me, which I don't think is a bad thing.
I admire directors so much, I find them incredible: they manage such a huge number of people of different characters, think of the money involved.
The power of the 'Muppets,' and the popularity of these characters, is so iconic in people's lives that I had to distance myself from publicly. Not privately... Privately, hell, I'm with them for life, and I love these people. They're my second family.
Perhaps, all writers walk such a line. In general - as we all do in our dreams - I believe I put something of myself into all the characters in my novels, male as well as female.
Writing sketches, you're also learning about a journey and characters, and you translate that to bigger things.
During my career I've enjoyed re-invigorating and contextualizing classic characters that are relatable to contemporary audiences.
The difference between movies and TV is that in TV you have to have a trauma every week, but that event may not be the biggest event in the characters' lives.
Now, all the movies are for teenagers. It's very difficult for an actress to find really deep, beautiful characters to play.
I'm always willing to endure humiliation on behalf of my characters.
Certainly it's very difficult to keep momentum going through a film which has as many characters as this does, and the piece took on a life of its own to try and shape it. That took all the time we had in editing.
I type even faster than I talk. I'm very proud of that. I type so fast. And I have to because the characters are living in real time and I've got to keep up with them. It's a miracle they even give me a royalty.
There's no need for a female character that does things like a male character; that's not what makes interesting female characters in my view.
Now, I love movies so much, but I find a lot of movies to be arrogant in the way they're kind of know-it-alls - they have perfect characters on the screen that know everything about themselves.
I'm trying to make all the characters change and grow, or regress.
I definitely acknowledge that 'The Matrix' and Trinity had an influence on female action-oriented characters in television and in film. I think it's awesome.
With writing fiction, I'm either not courageous enough or just not suited for telling truths in a more conventional way. As an actor, I inhabit those characters as I'm writing them.
The world is full of novels in which characters simply say and do. There are certainly legitimate genres in which this is sufficient. But in real and lasting writing the character is.
I look at actors like Johnny Depp, Sean Penn, and Benicio Del Toro, and they play all these different characters. I'm hoping that, in my lifetime, I'll be able to look back and say, 'You know what? I did all these different characters, and I enjoyed every single film I did.'
I definitely liked the Muppets. I definitely liked Yoda in 'Empire Strikes Back' and Chewbacca. I don't know if I was a fan of puppets or those, like, specific characters.
Storytelling is ultimately a creative act of pattern recognition. Through characters, plot and setting, a writer creates places where previously invisible truths become visible. Or the storyteller posits a series of dots that the reader can connect.
I'm still really fascinated with characters and people and telling their stories.
One of the great things that you should never do that I learned from John Malkovich is to never judge your characters.
You asked what is the secret of a really good sketch. And it is a sketch is a small play. It's got a beginning, and a middle and an end. It should have a plot; it should have the characters, conflict. It is a little play. And in it, will be funny stuff.
But I also wanted to give them an intelligent emotional journey, without having to suspend reality - to be able to look at those characters and see reasons for the relationships and why what happens happens.
If you watch the show and the characters don't look at each other while they're talking, the actors probably aren't getting along.
I think I've spent so much time playing characters that are so far away from me and learning how to technically build and how to technically put something on top of you.
Well, I think I've made 44 films and only like four times I've played real characters I'm just drawn to people who have a pioneer spirit, this extraordinary energy and commitment to their cause.
I love gritty drama. I'm passionate about films and drama that make you think - hard-hitting, gravelly characters.
It's really about, oh come on, this guy wouldn't say that or he wouldn't do that, you know, it's about the characters, about the story, about the situation.