Character Quotes
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It's not racism per se but the tyranny of normalcy - no: the tyranny of attractive normalcy. Which leads to loveable white models who are supposed to be playing ordinary, adorably flawed professionals just like you and me with their brilliant minority friends (with vastly less camera time) who are surgeons. But it's not just ethnicity. That narrow vision also extends to, say, things like women leads. Women leads have to be good-hearted and nice, with a Slutty Best Friend. The main character can't be slutty. Because that's not attractively normal etc
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If you have a character that doesn't have anything wrong with him, there's nothing funny about it.
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You can reveal yourself on stage in a way that you can't on TV. If you drop a character on TV, it's death. Each character has to be ruthlessly, faultlessly played. But live, you can hint at what's going on behind. You can let the audience in a bit and go off the script.
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I don't think I was bubbly in 'Oohalu Gusagusalade.' It was a real character.
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Playing Mark Antony in 'Rome' will always be a favourite of mine because he was such an outrageously big and interesting character to play. Also, the fact that we were able, with that character, to find out and present the public with a biography of that man that had not been really seen before.
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There's a difference between the way I see it and the character's interpretation of the events, so the rules within the film are the rules within the film.
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You don't bring in a gay character as a way of commenting on gay issues. You have one there because he's real, and that's his life, no less so than your life is yours.
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I never had the opportunity to play a Latino character that is seen in a heroic, smart way.
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I think there's a dishonorable tradition in Hollywood to give the idea, particularly to children, that evil characters are dark.
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The measure of a man’s character is not determined by how he handles his wins, but how he handles his failures.
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There starts to be an overlap between you and the character.
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Most subject is the fattest soil to weeds.
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I have always believed that hair is a very sure index of character.
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We're all on a journey. The average American switches professions four times. I'm lucky to be in a business where I can change the character I am playing every couple of months.
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Reflect upon the defects of your character: thoroughly realize their evils and the transient pleasures they give you, and firmly will that you shall try your best not to yield to them the next time.
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If you are inclined to leave your character solitary for any considerable length of time, better question yourself. Fiction is association, not withdrawal.
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The characters that I have on Twitter have very little resemblance to me, the person who's writing them.
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I stress character, character, character.
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It's hard to be scared if you don't feel for a character, because you don't care if they die or live.
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People took notice of me and saw that I can carry off light-hearted roles as well. They started talking about Pritam Vidrohi, and it became a lovable character; I saw that people were clapping and whistling. It was a big high to watch this kind of reaction.
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Henson had never spoken to me about Kermit, but he had spoken to Frank Oz about the idea of me doing the character if he became too busy. I felt flattered.
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There's not a woman in the book, the plot hinges on unkindness to animals, and the black characters mostly drown by Chapter 29.
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Bogie had tremendous character and a great sense of honor and would not tolerate lies, even if they asked him what he thought of a movie. We were once at a screening at somebody's house, I forget whose, and they ran a movie that he was in, that he never thought much of. Afterward, the producer asked what he thought of it, and Bogie said "I think it's a crock." And this producer was horrified! He was about to release the movie, and he said to Bogie "Why would you say that?!" Bogie shrugged and said "Then don't ask me." He never played the schmoozing game. He was not into that at all.
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When a new writer defends his "style," the teacher smiles (or cringes) because real style isn't an artifice. Real style - voice - arrives on its own, as an extension of a writer's character. When style is done self-consciously and purposefully it becomes affectation, and as transparent as any affectation - an English accent on an old college chum from New Jersey, for example.
