I think once you've allocated an actor to the role that the character will evolve slightly.
I think the beauty of the writing of 'Game of Thrones' is not that the characters are fearless; it's how they overcome their fear, you know?
Character is proportionate to N, the number of consecutive failures without being discouraged, or equivalently, the number of successive rejections without being intimidated.
Malice delights to blacken the characters of prominent men.
You try not to become so emotionally attached to your character, but you do.
The Cloud Roads has wildly original worldbuilding, diverse and engaging characters, and a thrilling adventure plot. It's that rarest of fantasies: fresh and surprising, with a story that doesn't go where ten thousand others have gone before. I can't wait for my next chance to visit the Three Worlds!
At the heart of Christian ethic is humility; at the heart of its parodies, pride. Different roads with different destinations, and the destinations color the character of those who travel by them.
In Aristotelian terms, the good leader must have ethos, pathos and logos. The ethos is his moral character, the source of his ability to persuade. The pathos is his ability to touch feelings to move people emotionally. The logos is his ability to give solid reasons for an action, to move people intellectually.
I think there's a bit of me in every character. Basically it just depends on what happens with the character.
When you're writing a story or an actor playing a role, you should never think of your characters as heroes or villains. You have to think of them as people first.
Society at present suffers far more from waste of money than from want of it. There is dignity in every attempt to economise. It indicates self-denial and imparts strength of character. It produces a well-regulated mind.
Truth telling is the first building block of character -- a quality that seems to be getting rarer and rarer in all-forgiving America.
Whenever you have two characters in a book, whether it's a novel or nonfiction, you run the risk that the reader is going to like one more than the other. They're going to read one chapter and say, 'I can't wait to get back to the other guy.
I find interesting characters or lessons that resonate with people and sometimes I write about them in the sports pages, sometimes I write them in a column, sometimes in a novel, sometimes a play or sometimes in nonfiction. But at the core I always say to myself, 'Is there a story here? Is this something people want to read?'
I'm not trying to say that I'm sick of Supernatural in any way, nor am I sick of my character, because he changes all the time; it's just nice to do something different.
I've been playing the same character on Supernatural for the past nine years and while that character has gone through a lot of different iterations, it's nice to step out and just do something altogether different.
If you want to have a character who falls into crisis, all you have to do is turn the Internet off, and then we all understand how that feels, when you suddenly just have time and yourself.
That's the thing about acting - it does have the feeling of downhill skiing. When it's really all going right, you know your lines, you know what's important to your character, you pick the strongest reactions possible to elements in the story. But then you let it all go and you're in the moment and stuff happens. It surprises you and it's super strong; it's like you're living life in a slightly heightened way in the time between "action" and "cut."
I love making characters real and believable, through my own experience and choices.
Given the loss of a child or the birth of a child or anything like that, I think it's just I'm more moved by life, the older I get, so it's easier to connect to the characters that I play.
You have to be able to sustain life. So moments are going to be lighter, but moments are also going to be heavier. I think just the understanding that life goes in a million different directions, and hopefully, if you find excitement by what these characters are experiencing and what they're living through, and you're impacted by them as human beings, then that's the sustainability of the show [This is Us].
I think hopefully as you're getting older you're getting parts that require more preparation, and by that I just mean - I don't know, usually the older you get you get characters with more responsibility. Each one is different, there are certain movies that when the guy starts you pretty much come with that character on page one and then you see their growth, whereas other guys a lot has happened before that movie starts and you have to come in with something.
For me, pressure is self-imposed, and it's good for me. The best actors are the most prepared because it's all imaginary and you have to know the character inside out.
The characters in my novels are my own unrealised possibilities. That is why I am equally fond of them all and equally horrified by them. Each one has crossed a border that I myself have circumvented.
Why must I be surrounded by frickin' idiots?
