Character Quotes
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I like the idea of a character that you wanna like even though you know he's making immoral choices throughout the film.
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When you play the same character for a long time, you have a shorthand. You get onto the set, you put on your outfit and two-thirds of your work is done because you've built on that work for so many years.
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Stage is so important because it teaches me how to convey character with words - how to convey how a character reacts by the way they appear on stage. I can usually tell a playwright from someone who has never written for the stage. Did the character work? Did the dialogue reveal who the character is?
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Over the years, I've been trying to build a relationship with an audience. I've tried to maintain as much of a low profile as I could so that those characters would emerge and their relationship with audiences would be protected.
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Most people think the character I do onstage is the way I am offstage, but I'm just a regular guy who spends time with his family and who turns on the television and watches a lot of sports.
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When a family film is done well, there's a character that every member of the audience can relate to. I want to be one of those guys.
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My initial attraction to 'Red Tails' was the opportunity to play a character that was not me. 'Stomp the Yard' was a great film, but I played myself there.
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Oakland's got a lot of character.
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I am sure, Though you can guess what temperance should be, You know not what it is.
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The funny thing is that I feel close to all my characters. Deep, deep inside them all. I can't describe how deeply I love them all.
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In Shakespearean tragedy the main source of the convulsion which produces suffering and death is never good: good contributes to this convulsion only from its tragic implication with its opposite in one and the same character.
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Thing is, I'm a funny actor, but I'm not good at being funny. I'm going to ramble for a second: I'm an actor who can make things funny in the moment, like in stakes or in circumstances or out of character.
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In a series, you have the luxury of time to establish the character and build a rhythm. In a TV movie, you've got to come up with the rhythm now. Right now.
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I was playing this role on 'Ugly Betty,' the sweetest, nicest guy. He was a fun character to play, but I was in a Latin soap opera - where are you gonna go with a nice guy in a Latin soap opera?
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I played a very complex, multidimensional character - Piglet in 'Winnie-the-Pooh' - at age 7 in England.
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Alice Munro is a particular kind of short story writer in that she writes long, character-driven short stories.
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This Romeo character is something I decided to create, like my alter ego. So the name Romeo was invented from the original Romeo and Juliet. I wanted to show people I'm like a modern Romeo.
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When I read a film script, I kind of see it in my head and I see the moments that shape what I understand the character to be. There's very little time for rehearsal.
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What I took back, because of my exposure to the Jewish music of the 30s and the 40s in my upbringing with my father, was that kind of theatrical songwriting. It was always a part of my character. This desire to make people laugh.
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If I like the story and it's well written, and it's a character I want to play and they'll pay me, then I decide to do it.
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There's something pretty awesome about staying with a character and growing.
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What we love about the character Katie, played by Katy Mixon, is that she feels very universal and very relatable. And what we love about 'American Housewife' is that it feels like it could speak for housewives from New York to Los Angeles, from Boise to Miami.
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If there's nothing interesting about a character, people leave because there's no desire to see what happens.
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I usually look at things like that from an audience perspective first, then have a closer look at the specific character they're talking about me for.
