Estelle Parsons Quotes
In theater, the wellspring of the character comes from the doing of it, like a trial by fire, but in front of an audience.
Quotes to Explore
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I once lived in a cottage made entirely of wood, and there was an electrical fire. We all ran outside, and no one got hurt, but the house was demolished.
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Wit is the appearance, the external flash of imagination. Thus its divinity, and the witty character of mysticism.
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Don't worry so much about your self-esteem. Worry more about your character. Integrity is its own reward.
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This basic thing I always do: 'What happened between the character's birth, and page one of the script?' Anything that's not in the story, I'll fill in the blanks.
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I know feeling pressure gets you nowhere creatively. You've just got to understand the character, understand the story, and just play it to the fullest extent.
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I'm at the mercy of whatever character comes into my head.
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Where there is righteousness in the heart, there is beauty in the character. When there is beauty in the character, there is harmony in the home. When there is harmony in the home, there is order in the nation. When there is order in the nation, there is peace in the world.
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All my stories are about the action of grace on a character who is not very willing to support it, but most people think of these stories as hard, hopeless and brutal.
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I've always considered myself a character actor.
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Character is the indelible mark that determines the only true value of all people and all their work.
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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.
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When people think girl adventurers, they tend to think of a spunky, plucky tom-boy with a chip on her shoulder. I'm not saying that this makes for a dull character, but I think other types of adventurous girls exist. It's easy to fall into well-established tropes, believing that the tropes of a genre define the genre itself.
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I sort of fall in love with every character I do; you have to understand how they became what they've become, whether they're the ugly kind or the very beautiful kinds of characters.
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The thing that intrigued me about 'Breaking Bad' from day one was the idea of taking a character and transforming him.
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I like Ned Leeds. I love the character so much. He's a very new character in the MCU. I think he's a very fresh take on people in the superhero world. Some superheroes crack under pressure, and Ned Leeds, who is not a superhero, doesn't.
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One is made by all the things around one. There are many things that have made one. For a writer to go around looking for things that have made him is asking for trouble. It's like giving a character to yourself. Can't do it. Can't do it. These things are just there. Is that enough?
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Always when I directed the play, I was always trying to cast people not who were necessarily like the characters, but people who I felt had the essential component that the character had, some kind of soul for it.
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'Aladdin' was probably my favorite Disney animation when I was a kid. The animation was great and Robin Williams was unbelievable as the Genie. 'Aladdin' was an amazing adventure and the lead character was a hero for guys, which I loved. It wasn't a princess or a girl beating the odds; it was a street rat. That seemed really cool to me.
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It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character.
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I'd love to do theater. I've done so many plays in my life. I still think of that as my main thing.
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What I try to do with the accent of any character I play is not necessarily to do something that's generic - an Indian accent and that's how it sounds, for example. I think the accent needs to sound authentic on this person.
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'Let’s waste a little time, hmm?''A nice euphemism, sir,' she mused distantly. He smiled. 'Come and help me think of better ones.' She smiled and they both looked at each other. There was a long pause.
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Life, we learn too late, is in the living, the tissue of every day and hour.
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In theater, the wellspring of the character comes from the doing of it, like a trial by fire, but in front of an audience.
