He has the common feeling of his profession. He enjoys a statement twice as much if it appears in fine print, and anything that turns up in a footnote... takes on the character of divine revelation.
I am pleased to say that as I get older, I get less and less like the sitcom 'Miranda.' She is really a clown character, a heightened version of the 20-something me.
When you start loving, your character becomes like the positive side of a magnet and the one you love becomes negative, that pulls people close to you in union, and becomes very difficult to separate.
The jokes I used to do on 'Sex and the City' were always comic character things, and they were rarely hard jokes. As soon as you go up in front of people, it demands laughter.
I am a professional actor, and I don't go about moralizing about what the character does. Otherwise, seriously, why be an actor? You're not making some kind of social statement. That's not what actors do.
Of course there are big differences in length and character and vocabulary, but each level has its particular pleasures when it comes to the words one can use and the way one uses them.
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.
