Character Quotes
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Yeah, you know, within the context of TV families, these are pretty unsavory characters.
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In the mere concept of one thing it cannot be found any character of its existence.
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The only way I know how to deliver is to focus; some people can turn it on or off - I'd rather stay in character.
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Technique is of less interest than character and story.
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In war, three-quarters turns on personal character and relations; the balance of manpower and materials counts only for the remaining quarter.
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I try to turn a place on film into a mental state. I always have three or four locations that I repeat and return to in a film, to make it more mythic. But my fiction films are relatively subjective stories, experienced though one character. And that always justifies a little stylisation in terms of landscape.
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Even if you know a character really well, there's no formula for what jokes will work and what won't.
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Genuine historical knowledge requires nobility of character, a profound understanding of human existence - not detachment and objectivity.
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I can't just go in and throw clothes at a picture. I still have to have some kind of an idea of a character, of who she is, where she's from. It's almost like playing a child's game. You have your dolls, and you create characters for them. Fashion indulged that in me.
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What I do when I create a character is put in details from all the people I know who might be like that person, and then put in a huge amount of myself.
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I'm such a huge fan of television and what's happening in television, right now. You are able to visit characters and visit a story, week to week, push things in a different way than you can in a film, and you are able to go deeper, simply because you have more time. I'm just excited to do that. It's always good to do new things.
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I create a playlist for each and every character that I play.
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I'm always perversely attracted to characters that seem one thing, but are ultimately revealed as another...
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The challenge was the opportunity. When I read the first draft of Steve Kloves' fabulous adaptation - I hadn't read [Michael] Chabon's book at that time - what I was immediately captivated by was this group of characters that were at once so engaging and so messed up.
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The most clear way to decide the actor is to watch them doing stuff during their downtime. When they do something that's making both of you laugh, you see if there's a character or situation that could be written into.
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I'm more interested in talking about what I do. And I don't think people are interested in my personal life. I've never had a Hollywood life. I've always been a worker. But it's true: If you know something about a person outside of the movie that is really repulsive to you, it's hard to shake. So I prefer to do my speaking through the work. I don't want people to know anything about me, because that's not important. I'm more interested in the me that takes shape through these characters. The other stuff is personal and too easy to trivialize out of context.
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If I'm gonna stay in this world of comedy, then it has to be a really special character to me in a really smart piece of material.
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If a subordinate performs a task and the outcome is not what you expected, don’t attack their intelligence or their character. Politely explain the deficiencies and offer an idea for a solution. Subordinates quickly lose respect for any leader who is “all problem and no solution.
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If anyone out there wants me to play a Pre-Raphaelite character, I'd do it in a flash. That's what is so curious about my playing a modern doctor. It's not the sort of part I saw for myself when I began acting.
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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.
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Most people assume that a muse is a creature of perfect beauty, poise and grace. Like the creatures from Greek mythology. They're wrong. In fact, there should be a marked absence of perfection in a muse--a gaping hole between what she is and what she might be. The ideal muse is a woman whose rough edges and contradictions drive you to fill in the blanks of her character. She is the irritant to your creativity. A remarkable possibility, waiting to be formed.
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I did this movie right after it about the life of Chet Baker. It's called Born to Be Blue. In that situation, there's a real clear character you're drawing on. It's a real person. It's really exciting and interesting to do the research to figure out how to make that a nuanced, three-dimensional human being.
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A man who has trained himself in goodness come to have certain direct intuitions about character, about the relations between human beings, about his own position in the world - intuitions that are quite different from the intuitions of the average sensual man.
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I would like any type of character that I could be creative with and totally delve into.
