Sarah Steele Quotes
I think the ultimate goal is that when we're off-stage, we know everything our character is thinking. Hopefully when we are on-stage, our thoughts are our character's thoughts because we really know that much about them.
Quotes to Explore
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It was never the goal to be a solo performer. It was just something that made the most sense at the time.
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It's really interesting working in television as opposed to the theater, where you know the arc of the character and you are able to create this whole backstory.
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I do not need any cheerleaders at my moot court. And I cannot imagine walking into that Court without the preparation of a few vicious moot courts; it is critical to the development of my thinking.
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During a game, it comes down to your mind - the pressure. There are loads of other aspects, too. Many people say taking penalties is easy, but when you're stood over one, that's not the case. It's in no way easy. The goal really does become a lot smaller.
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I always wear the shoes of the character a week before going on set; the idea of just putting on a new pair of shoes on the first day of filming is just horrific.
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Anyone can die. Rule number one is don't get too attached to a character, anyone can go.
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By its very nature, hard-line ideology is self-serving and self-perpetuating; its primary goal is to survive - and that precludes everything.
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It is natural for us, as human beings, to look forward. Our eyes naturally look ahead. In this sense, we are made for moving toward a goal.
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As soon as I accomplish one goal, I replace it with another one. I try not to get too far ahead of myself. I just say to myself, 'All right, well, I'd like to headline a tour,' and then when I get there, we'll see what my next goal is.
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There are always practical decisions to be made about any character you're playing.
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With big, emotional roles it's very easy, especially if you've grown up in the American school of acting, to exploit your own pain. You have to be careful about that, because 9 times out of 10, your pain is not appropriate to the character.
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I like to write books that I would have liked as a child, that would have got me thinking and imagining beyond the words on the page. In a way, my audience is always how I remember myself as a child.
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My character should not be ordinary, cliched, and if I feel that it's difficult to do this character, I take up that challenge to get into his character.
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The easiest way for readers to connect with characters and feel sympathy is to make the character entertaining, sympathetic and likeable.
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'Dallas' hit a chord back in the late Seventies and Eighties because it was the age of greed: here you have this unapologetic character who is mean and nasty and ruthless and does it all with an evil grin. I think people related to JR back then because we all have someone we know exactly like him. Everyone in the world knows a JR.
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'The Walking Dead' never wants you to get too comfortable with characters and cast members. I think about the time you feel fairly secure with your appreciation of a character is about the time the show will gut-punch you.
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It's a character that I always found really likable. I'm fond of Zorro because he was a popular figure who worked for the people.
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I often feel like a character actress trapped inside the mean, aging Barbie's body.
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Basically, I think that there are some characters that you can just allow the truth of your character as a human being in your real life to come through.
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I want to be careful to not stray too far away from what Batman is to me, but adding that element takes you in some directions that haven't been explored quite as much with the character.
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Lawmakers who interfere with commerce and the normal creation of jobs in an economy run the risk of doing harm rather than good. Unintended consequences from regulating or legislating to achieve a goal can occur and cause havoc in the markets or an economy.
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Growth is a sub-conscious activity, and I learnt a lot in this course, and I'm always open to learning and grasping new things from people. I'm learning with every film, and my confidence levels and technique is also getting better with each film.
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If there's anyone who can appear before Aslan without their knees knocking, they're either braver than most, or else just silly.
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I think the ultimate goal is that when we're off-stage, we know everything our character is thinking. Hopefully when we are on-stage, our thoughts are our character's thoughts because we really know that much about them.
