I kinda lose my mind in 'Fringe,' or at least my character does. Whenever I'm acting, I tend to accidentally become unable to switch off the character. I'm a little bit of a method actor, but without really wanting to be.
It's your job to come up with compelling characters who speak to an individual authenticity. If I'm not interested in the characters, I can't go on. I have to be fascinated by them.
I didn't want to do comedy again. It is way harder when you are doing comedy. You can't just concentrate on the character and the plot. In comedy, the writers, instead of obsessing about character and plot, obsess about the jokes.
I thought he was an interesting central figure, central character, one who is definitely not your typical central character figure in a film, who's easy to like. He's not easy to like. It forces you to involve yourself with what's going on.
'Huge' is a show about self-discovery and follows kids at a weight loss camp. My character is shy, so when she meets Nikki Blonsky's character Willamena Rader, who's not, they become friends.
I always try to keep in mind that while the characters in a farce may find themselves in outrageous dilemmas, and may behave in a way that the audience finds amusing, the characters themselves don't have the consolation of knowing they're in a comedy...
The object of man's worship, whatever it be, will naturally be his standard of perfection. He clothes it with every attribute, belonging, in his view, to a perfect character; and this character he himself endeavors to attain.
If I'm preparing for something and I've got a huge day the next day, I have to get into character the night before to assess the scene. I can't assess a scene unless I'm in character, if that makes sense.
Writing a book with completely fictitious characters is like running a democracy, centered around a capital state. You constantly live with the fear & suspicion that one of the characters will start an uncontrollable rebellion.
I've learned a lot with every character, everything from being a cop, to a lawyer to a tattoo artist. And underneath that stuff, I've been really able to find myself through the characters. It's served as a cheap form of emotional therapy.
On the sequel, you've lost the element of surprise. Usually, on the first one you may not go very, very deep into character; the second one you start to explore the character a bit more.
Sow a thought, and you reap an act; Sow an act, and you reap a habit; Sow a habit, and you reap a character; Sow a character, and you reap a destiny.
When my characters are questioning things, it's not me leading up to an answer; it's me asking those same questions and letting the characters' lives unfold and seeing where it takes them.
I like straightforward names for my characters. When I get too symbolic with names or places, I start feeling like the characters and the story are less read, and I lose interest.
I would have to say that I have to concentrate more when I'm doing comedy. There are so many details that make up any character, but developing a character for a dramatic role seems to come more naturally.
The secret at the heart of 'The Memory Keeper's Daughter' is something everybody, except for some of the characters, knows in Chapter 1. Some of the narrative tension comes from that distance between what the readers know and what the characters know...
The trap in Hamlet is he's the most passive of Shakespeare's characters. He's not a Richard III, not out there taking a lot of action. It's a lot of asides and soliloquies where he's wrapped in angst, and that's not a very interesting character.
Sometimes when you do a part, the wall between you and the characters can be very porous. You can sort of move in and out of your character's persona and being. And that just couldn't happen on this one because of working with him.
I think to really be literate in nu shu you only need about 600 characters because it is phonetic. So you're able to then create many words out of one character.
I was a repertory actor, which meant that I did a play every week. I was a different character every week; for a year, I was doing 40 or 50 characters.
I've had a couple of people come up to me after screenings and say they kind of sympathized with the character. I always get a kick out of it when people say that. It means I did something maybe a little bit to the credit of the character.
