I was molded, spent my time underneath a lot of goo. And then the bits and pieces were sculpted. It took probably 10 days to create each character after all those camera tests.
I don't tend to cast roles in my head because I spend so much time with these characters and the drawings that they're complete in themselves, you know what I mean?
That's definitely a part of who Superman is and definitely who Clark on the farm is. It translates to how calm he is. I feel like I'm pretty calm most of the time and relaxed, which gives presence to the character.
Once upon a time there was a widow who had two daughters. The elder was so much like her, both in looks and character, that whoever saw the daughter saw the mother.
When you first get out of doing a show for a long time where you played a teenager, casting directors and producers all still look at you as being the character that you played for so long.
Honestly, at one time I though Babe Ruth was a cartoon character. I really did, I mean I wasn't born until 1961 and I grew up in Indiana.
The play is on top of me all the time, and I am constantly thinking about it. Even when I leave the theatre, I'll mumble the lines to myself or think about the way the character walks or holds himself.
The process of creation goes on all the time. When I get through, I feel I know what the character will do in every situation. But the building up of the part is not mechanical or deliberate. It grows out of the text.
As always, with acting, you can't be too self-conscious. You shouldn't care about what people are thinking about you at the time because they're not caring about you, they're caring about the character.
I remarked constantly, just at sunset, in these latitudes, that the eastern horizon was brilliantly illuminated with a kind of mock sunset. This in a short time disappeared, to be soon succeeded by another similar in character, but more faint.
Easy was, like, spending time with Jennifer on set. Difficult stuff about character is, it was a little bit like just being the only one with no superhuman powers.
In terms of the pilot, you have to introduce a lot of characters in a very short period of time, and you have to paint with slightly broad brush strokes because you just need to give an audience an idea of who these people might be.
When I'm composing a scene for the first time, I try to imitate my character. The less critical distance the better - particularly when they're acting badly.
I can create countries just as I can create the actions of my characters. That is why a lot of travel seems to me a waste of time.
You know, it's scary when you sign onto a pilot of a series because, as much as you want the series to go, you also want it to be a character that you'd be interested in playing for a long time.
For my part, if the audience wanted to see Dracula again, I would be happy to reprise the role. It is an immortal character that can appear anywhere because it lies beyond time. Possibilities are endless.
I think that if you've got 5 million people that enjoy drama and invest in characters, you must take the time to not worry about your job and getting sacked and just go for it and hit it again.
People don't understand how much time and work it takes to make somebody laugh, and how hard it is to write a script, to put together the story, the characters. When everyone laughs simultaneously, there's no greater feeling.
All the time that I'm acting with an animated character, I'm looking at a tennis ball or sticky tape or an eyeline or a man in a green suit. There's no real environment, just this electric green that's blaring into your brain.
Well, it was very interesting to play a character and stretch it over such a long time - 12 episodes. I had never done a TV show before, so week to week it was unclear what we would be asked to do.
I like films that take their time a little bit more and don't show you all of their cards right away, characters that are conflicted and contradicting and seem one way at first and then suddenly turn out to be something else.
