Character Quotes
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Every time I make a movie I have too many characters and too many locations.
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A script narration is like watching a film, and I react to it like an audience with my own instinct. After that, I look for what is my character, what will I bring to the table in that role, how challenging will it be.
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Oddly enough, I've always really loved Nightcrawler. You know who else they didn't use enough was Phoenix. I just thought her story line was so tragic. I was just really drawn to that character as well.
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As a dramatist, you have 200 choices at every fork in the road. But the audience will reject it if you make the wrong choice, if they feel you are trying to shape the character in a way that suits you. It rings false immediately. People can sense when you're being cynical or schematic.
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Vanity was the beginning and the end of Sir Walter Elliot's character; vanity of person and of situation.
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Some things are just really difficult to do. That's what I find hard. I usually can find a way to do a character to make it real and work. But sometimes it's a struggle sustaining that, because there's such a level of personal involvement and personal, physical, and emotional distraughtness.
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With regard to politics and the character of princes and great men, I think I am very moderate. My views of things are more conformable to Whig principles; my representation of persons to Tory prejudices. Nothing can so much prove that men commonly regard more persons than things, as to find that I am commonly numbered among the Tories.
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We like layers of character and personality in our storytelling. We like very distinctive, unique personalities interacting with each other. And I think, because there are two of us, and we're a collective, we identify with that. We call it the mastermind principle: Two minds aren't doubly better than one - they're exponentially better than one.
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I'll play a character who is getting married to a woman to avoid the draft. Ultimately they fall in love with each other, but at first it's only out of practicality.
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You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.
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It takes a while to establish a character. Richard Boone once told me he didn't really get the character in 'Have Gun - Will Travel' until the 16th show. You just plant a seed, water it, let the sun shine on it, and hope it blooms.
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I pride myself on my capacity to perceive the transitory character of everything. An odd gift which has spoiled all my joys; better: all my sensations.
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I'm trying to make really flawed characters that have got redeeming features so people can say, 'I don't really like that character, but I can understand a bit where they've come from.'
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I'm not an actress who can create a character. I play me.
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I do really believe that all guitarists have a different character that comes through, that's a strong character, the stronger the person is.
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Good breeding in cattle depends on physical health, but in men on a well-formed character.
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Playing Marcia was a double-edged sword; it always will be whenever you play a character like that. You will be known as that character forever.
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I always try to make each character my own.
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It takes a while for audiences on film to see you as something different if they've seen you for so long as a specific character. It's up to the actor to be like, 'Look man, let's try something else,' even if it's an ultra-low-budget independent. People who rep you will keep going with whatever they can send you on.
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I love playing characters, so I'm always telling my agents, 'Don't worry if the character description is something you think I'm not. Let me try to be that person.'
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Let's call a spade a spade: when people look at me, they say, 'Oh, she's the androgynous one.' I'll tell you what type of character I would never be offered out there: The femme fatale. Or the white-trash, heterosexual hillbilly.
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In Nietzsche’s view nihilism is not a Weltanschauung that occurs at some time and place or another; it is rather the basic character of what happens in Occidental history.
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When I read a script, the important thing is that I can connect in some way with that character and have some idea from what his story is that I can tell that story too, because that's all acting is, is storytelling.
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I can tell you character traits I admire and work to develop in myself - perseverance, self-discipline, courage to stand up for what is right even when it is against one's friends or one's self.
