One of the ways that you reveal character is by getting a character into a situation and seeing what they do.
Robert Ford: They gave me ten days. Charley Ford: For what? Robert Ford: Arresting him. Charley Ford: You and me, huh? Robert Ford: It's going to happen one way or another. It's going to happen, Charley, and it might as well be us who get rich on it....
Charley Ford: Hey, Dick, you ever diddled a squaw? Dick Liddil: Shh... Charley Ford: Come on, you can tell me. I've always wanted to lay down with a redskin. Dick Liddil: Well, Charley, there's a feeling that comes over you gettin' inside a woman who...
Melodramas of moral courage provide satisfaction through the comforting fantasy that our own character would hold steady under the most extreme pressure of dreadful events. [But we must face] the painful awareness that in all likelyhood one's own cha...
For the most part, my characters don't talk to me. I like to lord over them like some kind of benevolent deity. And, for the most part, my characters go along with it. I write intense character sketches and long, play-like conversations between me an...
I'd say I'm a pretty intense person. I'm definitely not my Denise character on 'Scrubs,' nor my Jane character on 'Happy Endings,' but I'm a mix of the two. I really feel that I'm kind of every character that I've ever played; it's just a part of me....
In drama, the characters should determine the story. In melodrama, the story determines the characters.
To a leader, reputation is an option, but true character is a necessity!
Normally, when you're working on something, there are other characters that you have alliances with, and you have unified goals with some characters.
It takes a strong character for a person to say, 'I can't do it.'
I never really thought about what characters I play. I always just wanted different characters.
I'd rather play a character that was really, really different to me as to someone who is quite close to my character.
There is always that thought that you might get stuck with a character. But there's always the notion that every character is always evolving.
What I always studied in screenwriting from my mentor John Glavin was that the most interesting characters are characters with shades of gray.
I'm so into playing different characters, even when I was on Nickelodeon. I just observe.
I tend to gravitate toward conflicted characters, and a character who is exploring chaos theory and population control and the difficulties of love and family is pretty rich.
Well, I don't think characters change. I think they become more revealed. I don't think you really can change a character on a show.
I love playing characters that are bigger than life and maybe have a darker side that they present to the world. Those are good characters.
I'm very drawn to characters who are very flawed. I'm less interested in characters who are just good or bad, because to me then they're not real people.
I just want to keep finding special characters that I feel like I can bring to life and characters that are real and not superficial.
Acting is not acting. It isn't putting on a face and dancing around in a mask. It's believing that you are that character and playing him as if it were a normal day in the life of that character.
