Don't resist the urge to burn down the stronghold, kill off the main love interest or otherwise foul up the lives of your characters.
Actors will never be replaced. The thought that somehow a computer version of a character is going to be something people prefer to look at is a ludicrous idea.
Whatever you may think of Mrs. Clinton as a character, I think she believes quite strongly in public service.
I'm interested in getting deep into a person's consciousness and doing so in ways in which the narrator is secondary to the character's own thoughts.
You can draw the character out of pets, and you can make them your friends, but they are animals, and they have to be allowed to live the lives of animals.
Tick is a cartoon character, I don't know if you're familiar with him. This is the third step in his evolution. Comic book to cartoon to, now, live-action.
For me, I always have to establish a reality for the character. In very actor-y terms, you just have to understand his reality.
There is a shy side to me that evaporates when I play on stage, and I like that. I think it's another facet of my character, and I need to do that.
Writing therapy is my form of healing. Try and detach yourself from painful memories by infusing characters and then stepping back.
The mind is exercised by the variety and multiplicity of the subject matter, while the character is moulded by the contemplation of virtue and vice.
I envision the script as a story in my mind, memorize the entire thing and have it play out. It helps me figure out where my character needs to go.
I can't bear shopping. I can choose clothes for my characters, but not for myself. I've got no dress sense. Or I've lost it.
It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.
You know, we have to take these characters - who, granted, have their separate personalities but, on a lot of levels, are pretty two-dimensional - and make them into people with flaws, with insecurities.
I often have scripts sent to me with allegedly Scottish characters where I end up telling them, 'You're going to have to rethink this whole thing!'
But for me, the challenge is how you turn a character into behavior. Once the director says 'action', you just try to live between those two worlds.
When I did 'Jump Street', I created that character; it was all me. I walked in and was just me. I could get out of bed and walk on set and be dressed.
I think that you can sort of have your own personal journey and you know, you can just kind of apply that to whatever characters you're playing.
I begin a book with imagery, more than I do with an idea or a character. Some kind of poetic image.
The first script I got was Narc and I really responded to it; it reminded me of a '70s type movie, I really liked the characters, I didn't anticipate the ending.
As much as most of the actors were kind of curious to know what their character meant in relation to the script and to the plot, they really were quite happy to be part of the adventure of not knowing.
