Character Quotes
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When you work on a film, it's important to feel that you are starting afresh and doing it for the first time. Also, it's important to have those butterflies in your stomach; you need to wonder how you are going to approach the character and whether you will be able to do justice to the part.
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A character on stage who can present no convincing argument or information as to his past experience, his present behaviour or his aspirations, nor give a comprehensive analysis of his motives, is as legitimate and as worthy of attention as one who, alarmingly, can do all these things.
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The character and fight against fascism moved centre stage when, in 1936, Franco attempted to overthrow by force the Popular Front Government of Republican Spain.
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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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For me, it's all about smaller character-driven pieces, about finding a person that I connect with and that I'm interested in bringing to life.
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I tried to forget about playing Romeo in 'Romeo and Juliet' and just think about him as a normal guy, as a normal character, and just try and approach him the same I would every other character.
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At any comic book convention in America, you'll find aspiring cartoonists with dozens of complex plot ideas and armloads of character sketches. Only a small percentage ever move from those ideas and sketches to a finished book.
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At first, I didn't realize it was gonna be a character. I just thought I was gonna be doing me.
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The more I get to do this character, the more I realize that she's not just annoying. It's that her strength is not interacting with people socially. She just doesn't have time because she has so much going on in her brain.
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To get a script like 'Death Proof' and to get cast in it just affirmed that I want to do character work; that's where my heart is. Maybe I will get to it again, maybe I won't, but it's what I like to do is play something a little outside of myself. This solidified the desire certainly for me.
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Baseball reveals character; golf exposes it.
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When I first came to Hollywood, the blacklist was just starting, and they were having hearings in Washington. What most people don't know is the judge of these hearings himself was later convicted of misappropriation. 'Spartacus' helped break the blacklist, because Spartacus was a real character.
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I don't see myself only as a Somali character. I think of myself as an actor, and if the job fits me and I like the story, I will go for it.
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I always play what I call The Girl. The nice straight character. Sincere. Usually the victim. I'm put upon. I suffer.
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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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I think I'm drawn to more villain-type characters, because it's so cool to get to say all the things you want to say. In Hollywood, you get to this position where you have to bite your tongue so much. You take all your experiences of not being able to say what you really want to say, and channel that through your character.
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It's really rare to come across a character, a show, or a movie that allows you to completely play four or five different characters within a season, let alone a week.
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There's a horrible fallacy that exists in the popular discussion of fiction these days: the idea that a successful central character need be 'likeable' or 'sympathetic'. It is surely more important that they be human, no? More crucial that they breathe?
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When I'm writing music, I'm not playing a character. I'm not Alice Cooper or Gene Simmons or someone like that, who has acknowledged that they are writing music for a character.
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I think what I reacted to so strongly when I first saw 'Pinocchio' was that I identified with the character so strongly. The movie takes you on a whole journey, a rollercoaster of emotions, and that sometimes means some very scary places. But in the end, it comes out okay.
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The creation of George Smiley, the retired spy recalled to hunt for just such a high-ranking mole in 'Tinker, Tailor,' was extremely personal. I borrowed elements of people I admired and invested them in this mythical character. I'm such a fluent, specious person now, but I was an extremely awkward fellow in those days.
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There are so many things that you're supposed to conform to as an actress. Keep your mouth shut. Look pretty. Be a fashionista. I'm not stylish. I don't want to become this character.
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People think being remembered most for one character is a negative thing, but I don't. I never expected to be remembered for anything!
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I just look at the character and the arc of the character, and see if it's going to be challenging. We always want to challenge ourselves. That's the biggest thing that I look at. Is this going to be a challenge? Is this going to be something that I can try my best to create, that no one could see anyone else do?