Character Quotes - Page 244

The story of my life has been of public interest, which is why I've been so passionate about having a private identity. When I step into a character, people have to be able to suspend their disbelief; they have to be able to divorce me from Hermiona. And not having everyone know every single intimate detail of my entire life is part of me trying to protect my ability to do my job well.

For me, the political part of being an actor is very tough. To sit somewhere and tell somebody why you should feel this way or that way about my character does not feel like my responsibility. It feels like the responsibility of the writer and the person who created it.

I can't help moving my face - reacting - when I watch a movie, because I'm really inhabiting a character. I know this is weird, but it demonstrates what I love about cinema: it allows you to live a different life, to have a different experience, to disappear for two hours. I think it's wonderful.

It's very important to be able to distinguish the actors from the characters they play.

It's very difficult to find the time or the money for people to organize rehearsals for some movies. It staggers me how little preparation often goes into these scenes which are difficult and complicated. You think, "God, it's crazy. I've never met this person before and here I am having to work at how to do a whole performance on the set." It was great to have a few days of just talking to Michael [Caine] and Daniel [Barber] and thinking about the characters and the relationship between them before we started shooting.

I decided to give acting a serious, committed try, and soon after, I read the script for 'Lovely and Amazing.' The story was beautiful and honest, and the characters struggled with the same insecurities many women - including me - face. I didn't think I had a chance in hell of being in the film, but I knew I had to go for it.

If you're very open to watching the world go by, with people's different tics, you absorb it all without realizing it and find ways to put something into your character. I'm not sure I'm always aware I'm mimicking someone.

At this point, an urgent question arises: [...] Is it our duty to seek to become a thorough and complete human being, one quite sufficient unto himself; or, on the contrary, to be only a part of a whole, the organ of an organism? Briefly, is the division of labor, at the same time that it is a law of nature, also a moral rule of human conduct; and, if it has this latter character, why and in what degree?

I focus on characters as individuals with attitudes and write each scene from a particular character's point of view. That way, even narrative passages take on the character's sound. I don't want the reader to be aware of me, writing.

The public's continuing ambivalence about cultural matters is all the more striking given that the political conversation on these issues has for 30 years been dominated by an aggressive, radical right-wing insurgency that has achieved an influence far out of proportion to its numbers. Its potent secret weapon has been the guilt and anxiety about desire that inform the character of Americans regardless of ideology; appealing to those largely unconscious emotions, the right has disarmed, intimidated, paralyzed its opposition.

A minister of Jesus Christ should not be regardless of his attitude. If he is the representative of Jesus Christ, his deportment, his attitude, his gestures, should be of that character which will not strike the beholder with disgust.

In a funny way, acting, to me, is all make-believe, even if the film has unicorns in it or is a normal movie that can be set in real-life time. I'm still imagining that I'm a different character, so it's all, in a funny way, like fantasy.

It is easy enough to be virtuous When nothing tempts you to stray; When without or within No voice of sin Is luring your soul away. But it is only a negative virtue until it is tried by fire. For the soul that is worth the treasures of the earth is the soul that resists desire.

Other people, including me, have written books with main characters who were old and rich. Or old and brilliant. Old sages, old wizards, old rich people.

In a novel, I could submerge my ego in a characters and let his perceptions take over.

Roughly, the action of a character should be unpredictable before it has been shown, inevitable when it has been shown. In the first half of a novel, the unpredictability should be the more striking. In the second half, the inevitability should be the more striking.

Dialogue is the ideal means of showing what is between the characters. It crystallizes relationships. It should, ideally, be so effective as to make analysis or explanation of the relationships between the characters unnecessary.

I guess there's a vulnerability in seeing a female character trying to get out of something really drastic.

I find myself maybe just pushing myself to create characters that are a little outside the box, and if that sort of gets the critics talking, then I can take it.

I'm always looking for something very different from anything I've done. I'm attracted to a great script, and not necessarily a great character.

The predominant difference between television and film is the pace to which you work, but the development of the character or the process for playing the character isn't necessarily different.

Writing fiction lets you be a little more emotional and unguarded, a little freer. Writing fictional characters is also really different from writing about real people. In nonfiction, you can only say so much about the people you interact with. After all, they're actual people, their version of their story trumps yours. In a novel, you can build a character, using certain parts or impressions of someone you know, and guessing or inventing others, without having to worry that your guesses or memories or inventions are wrong.

Writers write because they cannot allow the characters that inhabit them to suffocate them. These characters want to get out, to breathe fresh air and partake of the wine of friendship; were they to remain locked in, they would forcibly break down the walls. It is they who force the writer to tell their stories.

Invariably will you find perseverance exemplified as the radical principle in every truly great character. It facilitates, perfects, and consolidates the execution of the plan conceived, and renders profitable its results when attained. By continuing to advance steadily in the same way, light constantly increases, obstacles disappear, efficient habits are confirmed, experience is acquired, the use of the best means is reduced to easy action, and success becomes more sure.

Well, I go to the theater today, and its curtain - there is no curtain in this play; the lights go down and go up - and we start. And I live this character for two hours. There are only two of us in the play. And It's a complete experience.