I think a lot of podcasts have a lot of amazing character work. Seth Morris does this amazing character, Boch Duco, which I think is one of the funniest, most well-realized characters that I've ever seen or heard.
I never really thought about what characters I play. I always just wanted different characters.
I have played Blair Cramer for 20 years, I feel a personal investment in the success of 'One Life to Live.' I love the show, I'm a fan of the characters, and I have invested in the journey these fictional characters have traveled.
Overpopulated fiction can be so confusing that readers put the story down. Under-populated novels can seem claustrophobic or boring. You want the right number of characters for your particular work.
That's what fiction writers do: create characters and do terrible things to them for the entertainment of others. If they feel guilty enough, they write happy endings.
I think the hardcore fans can expect exactly what both 'The Hunger Games' and 'Catching Fire' delivered: 'Mockingjay' is going to be as faithful a rendition of Suzanne's Collins's world and books and characters as we can put out!
Making a film is like making a mixtape. You're collecting all this stuff and putting your favorite stuff into it: you have actors that you like, characters that you're interested in, moments you want to explore, themes you want to deal with, music that you want to put in. It's a pastiche of all these things that deal with how you see the world.
It's really a misconception to identify the writer with the main character, given that the author creates all the characters in the book. In certain ways, I'm every character.
I think you leave your imprint on every screenplay. I like to bring my experience as a woman to all my female characters that hopefully makes them a little more layered and complex.
Often, as a young actress, you find yourself being the only girl in a room full of men... and one of the reasons why I like 'Grey's Anatomy' is because they have such strong female characters and the women really drive this show.
I don't mind playing bad guys, but I love having the opportunity to play all different types of characters.
I'm someone who loves to play. I make films so I can have fun with the characters.
My characters are all made up of pieces of people I have known, their backstories pieces of mine.
When you have a script, and you're discussing what it can be, and who going to play what role, that's a kind of like a fantasy football game. You can imagine these different dream teams interpreting these characters that only exist in your head.
I wasn't thinking that I was two horrors back to back; I was thinking these were characters that I want to play.
Real history is far more complex and interesting than the simplistic summaries presented in Wikipedia articles. Knowing this allows you to question received wisdom, to challenge 'facts' 'everybody' knows to be true, and to imagine worlds and characters worthy of our rich historical heritage and our complex selves.
If you can't laugh at your own characters, or shed a tear for them, or even get angry at one of them, no one else will either.
I really respond to human scripts, scripts that are raw and real and risky. I love playing scary characters - not horror film scary, but vulnerable scary.
I always thought that life is full of stories and characters that feel like literary stories and characters. So when I started making documentaries, they weren't humble empirical things, just following people around. I was always trying to impose a story.
Rawn did her own thing in her own way. She cast the female gaze on a genre heavy with all-male quest fellowships, trophy females, and the occasional Smurfette. Her world was male-dominated and highly patriarchal, but she populated it with notable numbers of well-drawn female characters.
I'm a big fan of American vaudeville and Hollywood silent film-era slapstick and the music halls full of ridiculous, eccentric characters.
I often play characters on TV shows that are more sweet and naive and just kind of puppy-dog eyes, and I don't think I am like that as a person.
We think we've got great stories and characters that will lend themselves to great standalone experiences, and that's the way we're focusing on it.
I just have my characters say my controversial opinions and then hide behind them.
Unlike novels with a hero or two heroines, in 'One Amazing Thing,' all the characters tell stories they've never told anyone before, so all the voices become equally important.
I feel like because I've done more gay characters, gay scenes, or gay projects than most straight actors, people see it as some sort of mission. It's more of a case-by-case basis, and just trying to capture figures that I love. I guess that a lot of the figures that I love were gay.
This whole celebrity racket, it's not really my bag. I don't really do that stuff, and I am not looking to get famous myself. I would love it if my characters get famous, my work was well known and appreciated. But I'm an actor, not a spokes model or a celebrity or whatever that is. I don't know how to be that.
'Orphan Black' allows for people to have debates and theories and allegiances to different characters - to trust characters and hate other characters - but it doesn't tell you who is good or bad or right or wrong. That's the most exciting storytelling, in my book.
My job isn't to preach to people, it's to entertain them. I like letting the characters speak for themselves.
I think that's what we're supposed to do is play a wide range of characters - or it's just what I like to do, I should say.
I love the challenge of taking established, iconic comics characters and showing readers why they remain contemporary.
I loved the Scarecrow and the Tin Man and the Lion and you could kind of see the actors' faces in them. It wasn't an entirely new face sculpted around them. What made those characters so human and appealing to me was seeing those great actors underneath there. They weren't lost behind a bunch of appliances.
People have certain expectations from me, and I want to do different characters.
You try not to judge the characters you're playing.
I have to remind myself constantly to not be antisocial, because I stay to myself a lot. I'm a lot more introspective than my characters.
The success of 'Rome' was in making the history accessible and giving viewers everyman characters through which they can connect to historical figures. It stops the story from being too remote.
