Character Quotes
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I liked Huckleberry Finn and Tom Sawyer, and that is the kind of character that I would like to have played. That would have been more in tune with who I really was.
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It's always hard for a writer to make herself into a character; I had to figure out what my defining characteristics were, and that's something I had to work through multiple drafts to figure out.
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I worked with HBO on 'Recount,' and we had a wonderful experience together. I'm such a fan of HBO and how much flexibility they give in character as well as schedule.
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I try to think what the character is thinking. Then, hopefully, I begin to feel it. I act and react not because I'm recalling a dog killed by a fire engine, but because I'm concentrating on what the character is going through.
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There's so many different things that you can physically change for a character.
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In animation, no one gets to see your face, so you can really mess up with your voice like I did 'ParaNorman;' I was a bully in that, which was so much fun to do. In 'How to Train Your Dragon,' I'm a little Viking character. So, it's kind of exciting to play these roles that you normally wouldn't get to play in a live-action movie.
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As a writer, as much as I try, I can't stop writing female characters. They have so much more to offer; they have to wear so many different hats. There's so much wonderful gray matter in a female's life that it just makes for a stronger character.
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I never really thought of myself as being an action hero or a leading man or any of that. I'm a character actor.
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If one had to define one essential gift with which a dancer needs to be endowed, there might be a rush of answers. A beautiful body, grace of line, graciousness of spirit, joy in the work, ability to please, unswerving integrity, relentless ambition towards some abstract perfection. Certainly all these factors determine a dancer's character, and every element exists in some combination within the performing artist's presence.
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To play Khal Drogo was phenomenal, and I wished there was more stuff he could have done. I'm going to miss that character.
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The physicality of any character is always split up into fast, slow, high energy, low energy, what kind of personality he has. So that's where the physicality comes in. And flying through the air is just something you have to do if they ask you.
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One of the things that all authors of fiction must learn to judge is whether - and in what detail - to describe the face of a character.
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The biggest risk with a series that goes on this long is that you'll get bored with the character.
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I love playing a character who has an adversary she can go one-on-one with.
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I like to try different things. A good strong character and a good story are the key things for me when I'm considering a script. But I don't want to do the same kinds of things over and over. I like to challenge myself and do projects that dare to push the limits.
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Peace is not the absence of war, but a virtue based on strength of character.
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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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When I was 18 and not sure whether I wanted to be an actor, I realised that a playwright has no voice without an actor. That's my reason for acting: to get that character as right as possible for my writer. And I have never changed my philosophy.
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Nobody can ever describe how much you explore a character on a Peter Berg movie until you're doing it.
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There's nothing interesting about seeing our characters for an hour and a half do some flashy flying in the sky and beating up on some buildings. It's boring, and people don't want that anymore. They want character, and they want story.
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Everything today is such a massive visual show. It's very rare to get a film where the characters are raw and real - and you can take people back to where they are watching live cinema. With character-driven action. Not visual-driven action.
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In 'Waiting for Guffman,' the character I played, the Corky character, he's very serious about what he does, and it's not meant to be mean that this is a small town and these people aren't the most talented people. They're trying the best they can. So to be mean, that would be kind of horrifying in its superficiality.
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Iago is one of the most liked characters in Shakespeare's canon, and he's the most evil, most extraordinarily manipulative person in history. He says the worst, most politically incorrect things, even for the time the play is set in - and yet audiences adore that character.
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Doing animation is closer to pretending than anything else you get to do. It's much more like when you're a kid putting on a character.
