I've found that good dialogue tells you not only what people are saying or how they're communicating but it tells you a great deal - by dialect and tone, content and circumstance - about the quality of the character.
I leave to others the decision as to the good or evil tendencies of my character, but such as it is it shines upon my countenance, and there it can easily be detected by any physiognomist.
The characters that I want to play are interesting women. I don't care if they're good women or bad women or vulnerable women or women with a lot of faults or women that we dislike intensely who are malicious.
If I had to choose criteria, for me, it's about first the director. I want to be a part of something that's good and intellectually challenging. After the director it's the character and the story. That's the deal for me.
I think sometimes actors are drawn to good television because you have more time to sell it, you have more time to shape a character, and to tell a story, and that's really appealing.
I might not write fiction in the literary sense. But I write very well. My characters are good. My dialogue is good. And my stories are really involving.
I like to rehearse with the actors scenes that are not in the script and will not be in the film because what we're really doing is trying to establish their character, and good acting to me is about reacting.
Apparently, I'm very good at firing a gun without blinking, which is unusual. That's why so many action characters have to wear sunglasses during shoot-out scenes. That's my party trick.
I might be one of the most flamboyant characters New Zealand has ever seen, but my intentions are good, and I would like to see New Zealand flourish.
I've played such serious characters that no one sees me the way I actually am, which is completely cheesy and goofy, so it would be fun to do a romantic comedy and just have a good laugh.
The prince in 'The Leopard' was a very complex character - at times autocratic, rude, strong - at times romantic, good, understanding - and sometimes even stupid, and above all, mysterious.
People who were more concerned with themselves and looking good to their readers then they were with the characters sacrificed a series for the sake of a story.
That's one of those things that will really hurt me personally, if I label a character or think about what it might do if it were to do well. I just try to do a good job with it.
First of all, Craig Lucas' work, any of it, for any actor, is such good material. It's so alive in such a poetic, yet human way. It's theatrical, but it lets you emotionally connect with the characters.
Sometimes I eavesdrop on people. I could rationalize it - oh, this is good anthropological research for characters I'm writing - but it's basically just nosiness. It also helps me gauge where I'm at: Am I normal?
We're used to boy meets girl, boy likes girl, instant attraction on TV. But you throw a son in there, you throw a marriage in there, and you've got some really good character stuff.
Great ambition is the passion of a great character. Those endowed with it may perform very good or very bad acts. All depends on the principles which direct them.
I choose my friends for their good looks, my acquaintances for their good characters, and my enemies for their intellects. A man cannot be too careful in the choice of his enemies.
A lot of the characters I play have problems, they are marginalised, they have serious psychological problems, problems with relationships, with childhood. These are big subjects, big subjects. You can't balk at work like that. As an actor, that's as...
An adventure game is nothing more than a good story set with engaging puzzles that fit seamlessly in with the story and the characters, and looks and sounds beautiful.
The script is a blueprint for the film - there are very few bad scripts that make good movies. If you really like the character and understand the utility it serves within the movie, that's a part of my process.
