Explore Quotes on Character

TV is a different animal these days. You can bring together really smart writing and directing, in-depth character development and really meaty political and emotional stories.

I thought it was a terrible idea being a supporting character on a football show.

Describe character using dialogue. Describe character using what the characters see or do or think, but not what they had done or where they had been.

Pain seems to be easier, or melancholy seems to be easier to portray in a character. I don't know if that's because I'm a human being or because I'm an Irishman or both.

When I work with a character like Valjean on stage, I get totally absorbed in that man. I become that man. But there's always, outside of that, the third eye, which watches what you're doing. And you can say to yourself, 'I'm crying well' or 'I'm being angry well.' But there's always that element there, and it never stops.

I want to play Martin Luther King. That is absolutely a role and a character who is important to the landscape of the world that I really want to play.

With films, you completely immerse yourself in a character, get into who they are, live it and then release it.

You've got to be honest with yourself aesthetically about who could you play. You want to artistically be true to that character.

Doing multiple character work is athletic in every way - vocally, physically, spiritually, and mentally. With a show like 'Passing Strange,' I usually lose about 12 pounds.

I recently did a play, Athol Fugard's 'Coming Home' at Long Wharf Theatre, where I played one character throughout - I sat at a table and didn't have any costume changes. Following one character's arc from beginning to end is a whole different mindset.

The best story about Berta is my audition. I think they wanted her to be the ethnic character. They asked me to come with an Eastern European accent.

I don't really know what an adverb is. A dangling participle? That sounds really rude. I don't know what character is, really. Plot seems vaguely juvenile to me. It's all about language, it's all about how you apply it to the page.

The right costume determines the character, helps the actor feel who he is, and serves the story.

Costume, hair and makeup can tell you instantly, or at least give you a larger perception of who a character is. It's the first impression that you have of the character before they open their mouth, so it really does establish who they are.

I design for the movie and the character as well as the person wearing the costume. I show the ideas to the actor, then do fittings for shape and technical things such as movement in the costume. Once the costume in this form is on the actor, you have a sense of their connection with it. I then take it to the next level with the final fit.

I love the challenge of having one character who is traveling back in time to find someone. Nowadays, the only way we think to find someone is on Facebook.

I don't believe that a female character needs to surrender her femininity in order to be an action hero.

Well, I've always been a character actor, you know, and you always get your share of character actors who are bad guys.

Well, I've always been a character actor, you know, and you always get your share of character actors who are bad guys. So it never surprises me. And if it's good writing, you can find your way into the part well enough.

As an actor, I like to get a bit of momentum going with a character and kind of work a bit quicker. I mean, not crazy-fast, but, you know, five or six pages a day is a nice pace.

I usually look at things like that from an audience perspective first, then have a closer look at the specific character they're talking about me for.