A while ago, I did a television adaptation of 'Bleak House,' and the character I played, as far as I was concerned, had no redeeming features whatsoever. I wasn't about to try to find any; I didn't need to.
My face lends itself to austere characters, and unless they're two-dimensional, I will do them. Any actor will tell you that an interesting villain is much more interesting to play.
Well, you know, I don't think anyone who writes a television series has a master plan from the beginning, and knows all the character traits, and everything that's going to happen.
As an artist, there's so many categories that you're put into, that there are so many things that I'm about that I've never explored as an artist on film. I don't see myself in so many characters in film.
Faced with crisis, the man of character falls back on himself. He imposes his own stamp of action, takes responsibility for it, makes it his own.
A man of character finds a special attractiveness in difficulty, since it is only by coming to grips with difficulty that he can realize his potentialities.
The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.
As a female there aren't too many characters that are very empowering, and there's something very empowering about Lara Croft. She kicks butt and she does it in style. She's confident and she's educated.
When I wrote 'We Can Be Heroes,' I was just so excited about the concept of playing loads of characters, and a television series allows you to do that.
It's obvious that if you're going to play a character you need to amass information about that person and about their environment or their era that they're in and use as little or as much as necessary.
If you're playing the a historical character that's in the public consciousness, then obviously you've got to make an effort to look like that person and there's a huge amount of historical record there that you have to kind of comply to.
When we see persons of worth, we should think of equaling them; when we see persons of a contrary character, we should turn inwards and examine ourselves.
I try to find what is closest to me in the character. There's many sides to personality, but it's a matter of, do you entertain those specific areas of your personality, or are you afraid to entertain them?
'Star Trek' scared me a lot more than 'White Jazz.' It terrified me, really. Because of the scale, the responsibility, the fact that it was this iconic character. It was the bigger challenge, so I had to take it.
I don't really read any comics, but when I got casted on the show, I starting reading 'The Walking Dead' comics. I felt like I needed a better idea of the character.
I feel like a lot of the portrayals of, in particular, younger minority ethnic characters on television, a lot of their dialogue, a lot of their characteristics, a lot of their personality in a writer's eyes, is kind of propelled through their ethnic...
The nightmare of a film career, or at least the challenge of one, is that you're rarely going to get the opportunity to explore character because once people see you in one thing, you know, they want to see that again.
I've never been an impressionist. I was doing Sofia Vergara and Elizabeth Dole. I'm sometimes so low-confidence and self-aware, so characters that are confident and ignorant and wrong are my favorite.
Well, I think in my first two novels, both the characters are pretty neurotic, which I would say that I am.
I guess because I pay so much attention to the physical part of the character, I don't look upon it as like Charlize Theron up there. I don't think of them as like Charlize Theron films.
Comedy comes from a place of hurt. Charlie Chaplin was starving and broke in London, and that's where he got his character 'the tramp' from. It's a bad situation that he transformed into comedic one.
