I tend to be attracted to characters who are up against a wall with very few alternatives. And the film then becomes an examination of how they cope with very few options. And that's, I guess, what interests me in terms of human behavior.
It's difficult to write a book where a character is on virtually every page of the book but you cannot refer to his or her gender. It gets rid of every his, her, she and he.
You're able to do things in novels: introduce subplots, other characters, thematic layers and so on, in a way that you simply can't in a movie. A movie really has to choose its battles.
We are identified and known by the sort of fruit, the quantity of fruit, and the quality of fruit borne out in our daily conversation, conduct, and character. There is no greater criterion for Christians. It is the paramount gauge of God's people.
'The Fever' is a one-person play. I decided I would perform it myself, and I decided I would not perform it in theaters, because the character in the play says certain things that I meant.
Authors can only soft sell the environment. Create a wonderful story around the environment involving the characters that leaves a lasting impression on the reader's mind.
All my characters have got a big slice of me in them. A big piece of me, because it's my dialogue and this is the way I think and talk.
It's weird because I've grown up a lot after filming the first 'Hunger Games' movie. Growing up with a character is really interesting because you feel like you have this connection with the role.
My novels tend to come about from a fusion of two big ideas, creating a critical mass that then fissions, throwing off hundreds of other particles, riffs, tropes and characters.
There is a perfect rout of characters in every man—and every man is like an actor’s trunk, full of strange creatures, new & old. But an actor and his trunk are two different things
Unless education promotes character making, unless it helps men to be more moral, more just to their fellows, more law abiding, more discriminatingly patriotic and public spirited, it is not worth the trouble taken to furnish it.
By the end, you should be inside your character, actually operating from within somebody else, and knowing him pretty well, as that person knows himself or herself. You're sort of a predator, an invader of people.
Working within the limitations of the shared world generally made the writing easier, because I didn't have to invent any of the characters or background, which is usually the hardest part.
I didn't set out to be a villain in film. I'm a character actor, and if my first movie was a comedy, I could have played a geek just as well.
For me, each nuance of a color is in some way an individual, a being who is not only from the same race as the base color, but who definitely possesses a distinct character and personal soul.
When a human being becomes a set of data on a website like Facebook, he or she is reduced. Everything shrinks. Individual character. Friendships. Language. Sensibility.
To me, the psychology behind the character is critical. So I work very hard to get into the mind of the man that I'm going to be playing, because number one, I want to understand why he's doing what he's doing. It's essential, it's absolutely essenti...
Originally when I went off to work on 'The Lord of The Rings' I got a call from my agent saying that I was just going to do a voice. But I couldn't really approach it like that. To get Gollum's voice I had to play the character.
What I believe will make my acting career successful going forward is hard work. I like to challenge myself. Then it's the people I meet and choosing the projects I want to work on correctly. There's a lot of characters I can play.
TV's hard work. I don't know how the hell Angela Lansbury survived doing 'Murder, She Wrote' all those years. And sure, everyone wants to be Bruce Willis or George Clooney - they want to be in film for the range of characters you get to play.
My mentor Jon Simmons introduced me to the Stanislavski system, which is so heavy on back-story. So you write and write and write these back stories about a character and then you throw it away. So then on set, if it doesn't come, then you didn't do ...
