Character Quotes - Page 262

If I'm on set and I'm in character, I'm not thinking like a producer. If I'm on set and I'm not in character, wardrobe and make-up, and I'm just coming on set for the moments that I'm not shooting, then I'm able to be the producer.

When you come onto the set, everything should be focused around your character and you should stay in the pocket, as much as possible. Every actor has their own process. For me, I really need to stay in the pocket.

This basic thing I always do: 'What happened between the character's birth, and page one of the script?' Anything that's not in the story, I'll fill in the blanks.

I usually focus on the whole group of characters in any given work-in-progress, and as a result they become particularly dear to me as I delve into their innermost motivations and live out their lives.

I am endlessly fascinated by this notion that everyone has a secret. Some of our secrets are tiny, small things, and some of them are huge. Given that reality of the human condition, that's what our characters will go through. There will be some things where you'll just be like, "What the hell! How the hell did that happen?"

If you're going to play a character who has a deformed face, you should have a deformed face.

I still get stage fright horribly. I still get nervous. I do tend to find when you're playing characters, often - just for the time you're playing them - there are sides of your personality that get stronger because you draw on them more.

I'm definitely not a dancer. I can move well, but it's more about the acting and the singing for me. Acting and singing are completely different, so I can't say which one I love better because I love them both. I love acting because I get to play different characters. But I also love my music because I get to portray me.

I just want to do everything. As broad as that seems, it's kind of the plan. There are so many different genres out there to do, so many different characters to play, so many different amazing actors and directors to work with. I'm just following my gut, and if it's speaking to me, then I'm doing it.

Interesting characters are troubled characters. The only problem I've had in my business is very few people - unfortunately, very vocal - confusing the difficult role that I play with me. I play these guys, but I'm not like them. I've been accused of being difficult to work with.

[London] is sentimental and tolerant. The attitude to foreigners is like the attitude to dogs: Dogs are neither human nor British, but so long as you keep them under control, give them their exercise, feed them, pat them, you will find their wild emotions are amusing, and their characters interesting.

I don't write for an audience. I write for myself. And if I imagine an audience at all, it's the characters, but I know that I would keep writing even if no one ever published me again, even if no one ever read me again.

For me, water means a lot of things. It's my belief that human beings are just like plants. They can't live without water or they'll dry up. Human beings, without love or other nourishment, also dry up. The more water you see in my movies, the more the characters need to fill a gap in their lives, to get hydrated again.

Indolence is the dry rot of even a good mind and a good character; the practical uselessness of both. It is the waste of what might be a happy and useful life.

I always love writing the third book in a series because you get to tie up all the threads that you put out in the first two books. You finally let people know what really happens and reveal all the secrets and bring certain characters together.

Songs are like movies to me, and so you put yourself in the movie. You become a character in the movie. The new ones are exciting because they're fresh. But if it's not that, if the story is not what you get into, maybe it's the crowd response. You hit the first chords of 'She's In Love With The Boy' and 20,000 people start to scream, you're pretty motivated. You get what you need. And it's a great story. It works.

Disney has a bible for their characters, so that people who draw Disney characters have to make them look correct.

My influences were Peter Sellers and the great British character actors.

The two things that I thought were really interesting about this character [Bow] for me were that she actually loved her husband, and he loved her. The comedy was not coming from the fact that they hated each other. Which is what television couples are usually based on.

The great thing about playing a character that's similar to the audience, or similar to you, is that you get to have the same reaction that you would actually have to whatever's going on.

[Donald Trump] is a true republican: he is hypocritical and two-faced, he's a liar, a cheat, and a thief and the more he speaks, the more his real character shows.

A cartoon character isn't a specific person. It isn't Tom Cruise or George Clooney playing the part, it's a character that could be you. It's easier for you to get drawn into it in a special way.

The Westerns I like aren't really comedies. I'm drawn to the scope of them and the land as a central character.

I don't think you can sing about certain things when you're a teen-ager or in your early 20s, because you haven't lived long enough. So I think living gives you character and that comes out in your voice.

Plot is very important to me, but I think my stories are stronger in character development.