I try to find what is closest to me in the character. There's many sides to personality, but it's a matter of, do you entertain those specific areas of your personality, or are you afraid to entertain them?
'Star Trek' scared me a lot more than 'White Jazz.' It terrified me, really. Because of the scale, the responsibility, the fact that it was this iconic character. It was the bigger challenge, so I had to take it.
I don't really read any comics, but when I got casted on the show, I starting reading 'The Walking Dead' comics. I felt like I needed a better idea of the character.
I feel like a lot of the portrayals of, in particular, younger minority ethnic characters on television, a lot of their dialogue, a lot of their characteristics, a lot of their personality in a writer's eyes, is kind of propelled through their ethnic...
The nightmare of a film career, or at least the challenge of one, is that you're rarely going to get the opportunity to explore character because once people see you in one thing, you know, they want to see that again.
I've never been an impressionist. I was doing Sofia Vergara and Elizabeth Dole. I'm sometimes so low-confidence and self-aware, so characters that are confident and ignorant and wrong are my favorite.
Well, I think in my first two novels, both the characters are pretty neurotic, which I would say that I am.
I guess because I pay so much attention to the physical part of the character, I don't look upon it as like Charlize Theron up there. I don't think of them as like Charlize Theron films.
Comedy comes from a place of hurt. Charlie Chaplin was starving and broke in London, and that's where he got his character 'the tramp' from. It's a bad situation that he transformed into comedic one.
I used to do little sketches into my cassette tape recorder when I was a little boy. I would just turn it on and just start doing voices and characters. I just loved it.
I think when your image becomes so big that it's hard for a viewer to see a character, then I think you're in danger as an actor of being unable to perform what you should be doing.
Now there are certain things you have to prepare - like dialect and special skills. But in the moment, interaction between two characters on the page doesn't need - for me, I don't need to prepare that.
All thought must, directly or indirectly, by way of certain characters, relate ultimately to intuitions, and therefore, with us, to sensibility, because in no other way can an object be given to us.
It's an interesting but useless bit of information that every single character in 'The Lord of the Rings' and 'The Hobbit' wears a wig, and many of them wears a prosthetic - false ears, feet, hands. In my case, nose.
Part of the allure of watching characters on-screen is to be able to put yourself in his or her shoes or to be able to relate to what he or she is going through or what he or she is thinking.
The city of Memphis has demonstrated that neither character nor standing avails the Negro if he dares to protect himself against the white man or become his rival.
I think that even if you're wondering if two characters are ever going to kiss, drawing out the inevitability is part of the fun. Whatever the genre happens to be.
I think of myself more as a character actor than that ingenue leading lady, who started out something like Michelle Pfeiffer, or Jessica Lange. I'm a bit quirkier than that.
I don't avoid anything. In my songs I just choose to talk about certain things, and so yeah, there are some aspects of my character and personality that don't come out.
I've done it with Broadcast News-where there was no finish line, there was no agenda that I had to move all the characters to this point, that I was sort of open to what happens.
I look at the story, I look at the idea and just try to think of it in terms of that whole body of myth and see where the characters fit in and what they ought to be doing-all those archetypes are there to play with.
