Suffice it to say, every actor works differently. Laurence Olivier would put on his costume and when the wardrobe was right, he was in character. That sounds superficial, but it's true, and look at the results.
The first heart you win over is that casting director. In first meetings, they'll be the ones who see your pitch for the character. And then as you get further up, they'll be the ones reading with you in front of the network.
I have very happy memories of fairy tales. My mother used to take me to the library in Toronto to check out the fairy tales. And she was an actress, so she used to act out for me the different characters in all these fairy tales.
If it's a very emotional scene, you're kind of relieved when you've done it, kind of spent. And there are times when you can be rattled, certain characters if they're hyper, that can carry over, the residue of that. But I try to leave it on the set.
I don't need all that much - I just need to know who my characters are and what kind of jam they're going to get into, and I'll write myself out of their jam.
I'm really normal. I play football, go to the beach, drive. We have dogs. I can imagine people calling me a character, but I'm Joe Straight.
The Ludolphian number is fixed in eternity— not a digit out of place, all characters in their proper order, an endless sentence written to the end of the world by the division of the circle’s diameter into its circumference.
Fiction has consisted either of placing imaginary characters in a true story, which is the Iliad, or of presenting the story of an individual as having a general historical value, which is the Odyssey.
Many novelists take well-defined, precise characters, whose stories are sometimes of mediocre interest, and place them in an important historical context, which remains secondary in spite of everything.
To have one's own story told by a third party who doesn't know that the character in question is himself the hero of the story being told, that's a technical refinement.
A lot of my characters in all of my books have a self-destructive urge. They'll do precisely the thing that they know is wrong, take a perverse delight in doing the wrong thing.
What comes easiest for me is dialogue. Sometimes when my characters are speaking to me, I have to slow them down so that I'm not simply taking dictation.
I've always felt that almost every part I've played has been a character part. I mean, I look at it that way. I can't help how I look or how I seem to people.
In the past, TSR and now Wizards of the Coast have asked me to do game stats for my characters, and I'm never comfortable doing that. It's all relative after all.
I have a cheat-sheet for each one of my characters about their personality, the way they look, etc. So there is no possible way that I could have writer's block.
Ron Swanson is more than the MVP of the 'Parks and Recreation' squad, more than just the funniest character on TV - he's the perfect depiction of aggrieved American manhood at the twilight of the empire.
Well, one of the problems of working on a story with a character that sacred in the religions of the world or in a picture about that person, is that you have to forget about that and play it as real as you can because you can't look at yourself and ...
Strength of character isn't always about how much you can handle before you break, it's also about how much you can handle after you've broken.
In 'The Secret Agent,' it's basically a character that was admired by Theodore Kaczynski, which is some fan mail you don't really want to open. This is a man who is a chemist and who specializes in making bombs and despises humanity.
I think my characters are more wish fulfillments than they are mirrors. They see things I don't and live in a world I can only enter through words.
The actions of our closest friends say a lot about our character—what we overlook, what we contribute to and what is important to us when the world doesn’t take notice.
