If it weren't for Criminal Records, Wax-n-facts and other indie record stores I could have only sold my CD's at my shows and by mail order as an independent artist. The greatest stores that have character and include a much wider range of music of music are all independent, mom and pop stores.
I think it is important that you care about the characters, and you are not just waiting for the next action sequence but have a vested interested in what happens to them.
I'm thrilled that Alice Medrich, one of America's premier bakers, has embraced teff, buckwheat, oat, and rice flours. She understands that these flours are far more than substitutes for wheat flour. These flavor flours are stars on their own, full of character. Her recipes are sure to entice you to move into the kitchen and start baking.
I'm lookin' at these Disney characters, these young girls coming out looking like, little whores.
I dont believe there is any character that one can play for that long and not bring a piece of you to it.
Every character is asking: Whats my place? Why am I here? I dont want the answer to be Just because. You find your own purpose. Each finds the reason to be here and how to contribute.
The first movie [Grown Ups], people loved it and we felt that there were so many characters and so many good comic situations that there was enough material leftover for us to do a sequel.
As an actor, you don't want to ever get too comfortable where you're like, "I know this character," and you don't do the work anymore. Then, there's something that you're going to miss. If you always stay hungry to learn more about your character, that's a healthy thing, while having a great sense of who she is, at the core.
In every take, that you're not sure of what they're going to cut and paste together and what the arc or the purpose or the intention of your character's journey will be in the story. You don't have control. Sometimes that's wonderful, and sometimes that can be scary.
When I sign on to a television show, I have to love that show and character so much, but this [Mistresses] was in and out, for seven episodes. And it was nice to be able to make some money again because I hadn't work in a year and a half. There were a lot of pluses.
I did a film called The Jesuit, which was an independent film. I did that shortly after Mistresses. I was still feeling soft and I was nursing, but it was a character I'd never played before. That was a Paul Schrader script, with an up-and-coming Mexican director, named Alfonso Ulloa. That has Tim Roth and Paz Vega in it, and I enjoyed that, as well.
Seriously, a thirty-something woman shouldn't be daydreaming about a fictional character in a two-hundred-year-old world to the point where it interfered with her very real and much more important life and relationships. Of course she shouldn't.
Personally, I believe “Young Adult” to be an arbitrary title that means the book "Can be enjoyed by anyone/Has a main character who’s not quite an adult/Isn’t really boring.
I want to do a little bit of everything. I want to play a good, strong female character.
I hope to be known as a chameleon actress, as someone who can play any part out there, and someone who can transform herself into any kind of character there is.
I definitely notice the absence of character in most poetry, which is not so say that I'm an innovator in that regard. Character-based poems are not weird or new by any stretch but they feel strange and new because the atmosphere is one in which no one does that. People always talk about, and with good reason, poetry's unpopularity. When people say that they forget or they brush aside the fact that in the middle part of the last century poetry was immensely popular. Dylan Thomas was basically a rock star; so was Anne Sexton.
I love playing darker roles, or roles with meat. I feel very comfortable in that environment. I don't know why. I don't know what that says about me. I really enjoy doing complicated characters.
I think the best way to become a character is by osmosis as opposed to thinking directly about stuff. The more material that you have and understand and have a going in, then the more complex your character and the understanding of your character will be.
So many times, you get a script and it says, "And then, the character cries," and you read the lines and think, "That would never make me cry. Those lines are so untruthful." My approach is just to be honest to the situation.
Most people view female directors as female only, that we only deal with women's issues and women characters. Although most of my films have dealt with women, I do have work that deals with other matters, and I'm always open to different stories regardless of gender.
If you have a billion Muslims, 900 million of them were not brought into Islam by any kind of invasion, but most of them through the Sufis, because human beings are such that they are affected by people of spiritual character. Certainly when they display nobility and hospitality and gentility and love and are not selfish or aggressive, and they are honest.
I don't smoke weed on set all day. I just want to say that, you know, not all day. After lunch you get tired. What can you do? To me, the fact that a character smokes weed isn't really what I hang my hat on necessarily.
Years and years of talking and writing versions of the script [Sausage Party] and looking at various versions of the animations - I mean, it's really a lot of workshopping and trying different things, and using the cast to try different voices and characters. And that's the good thing about animation. Because it takes so long, it allows you to explore in a way that you can't in live-action movies.
My characters come from a good place.
I watched a lot of pot movies before we did this [Pineapple Express]. My favorites were always the characters in movies that weren't necessarily in stoner movies.
