If I play a villain, I try to find his lightness and his good side. And if I play a hero or a good guy, I'll try to find his darkness or his flaws. Because I don't believe in good and evil. I believe in grays.
You know, I'm not saying, 'Oh, because I play a good guy on TV, I need to suddenly be villainous in a movie.' I look at it more like: does this role has a kind of urgency for me in terms of, 'Can I not say no to it for whatever reason?'
When I wrote my eighth thriller, 'Inside Out,' in 2009, the villains were a group of CIA and other government officials who colluded to destroy a series of tapes depicting Americans torturing war-on-terror prisoners.
To become a villain, you had to have become disillusioned, and in order to become disillusioned you had to have been passionate about something you believed in that was shaken and ripped from your grasp as a protagonist in that stage of your life, le...
I play a character in the WWE and everybody hates my character. I'm the evil villain bad guy. Whenever people meet me, they're like, 'Wow, you're such a nice guy. We never expected that.'
The characters that have greys are the more interesting characters. The hero who sometimes crosses the line and the villain who sometimes doesn't are just much more interesting.
If you find yourself always playing the villain, or if you find yourself being typecast into a corner where you're not happy then that's probably rather miserable, but if I have been typecast I am quite happy about it.
And I think that when I play these villains, maybe what is different is that the audience sees me play these and they know that that's Chris and he's having fun and he knows that and he knows that and you know that and everybody knows that.
I think all villains have something in common: they have something that they need or want very, very badly. The stakes are very high and they are not bound by moral codes or being ethical, so they can do anything and will do anything to get what they...
If you look at the Disney Villains, I think you'll find that they do have mass appeal in some way, and it usually has to do with a voice quality that also matches very well with the animation.
I refer, of course, to the debts our nation has amassed for itself over decades of indulgence. It is the new Red Menace, this time consisting of ink. We can debate its origins endlessly and search for villains on ideological grounds, but the reality ...
I was playing the villain 'Falseface' on Batman, and I got wind that they were going to pay a young starlet $25,000 to be in the same episode. Well, I wasn't getting anywhere near that amount of money, so I refused to let them put my name in the cred...
Too often, we get attention and sympathy by being a victim. If we're invested in someone being our villain, we must love being the victim. We have to let go of both characters in the story.
I didn't set out to be a villain in film. I'm a character actor, and if my first movie was a comedy, I could have played a geek just as well.
I was a man fifteen years older than she, you understand. I had reached that stage in life where I identified with cynical villains in a book.
Mum just laughed gleefully at his mounting frustration, like the villainous matriarch in a Roald Dahl story. I suspect a TV guide would describe her idea of comedy as 'dark', or, at very best, 'alternative'.
I care about strangers when they're abstractions, but I feel almost nothing when they're literally in front of me.
And therefore, — since I cannot prove a lover, To entertain these fair well-spoken days, — I am determined to prove a villain, And hate the idle pleasures of these days.
In the world of so-called villains, what we need is not another hero. What we need is to stop the influx of people who dress themselves as menaces and proceed to harm others.
One thing that most comic artists avoid is showing decisions. They show action, sure, and they show results, but they don’t show (because it’s difficult to show) the hero or the villain making a choice.
The importance of setting a date, as in choosing a colour, is a matter of selection. Orange may be seen equally well as 'the decline and fall of red' or 'the rise and triumph of yellow'.
