As an actor, it's your job to find the way to play a character. I think you can latch on to some things that might have happened.
I'm not method or anything like that, but sometimes you get the scenes and you're like 'Really, Damon [Lindelof]? More of this? Can I have one scene where it's a walk in the park?' But he doesn't do that. He puts every character through their paces.
If the characters [in a movie] aren't real, if their lives aren't realistic, if you call bullshit at any point in their journey, then the rest of it is invalid.
What I enjoy most about doing voiceovers is that you can be completely unconscious with the rest of your body and just concentrate on doing something with your voice, creating an entire character with your voice.
Don't we all deserve forgiveness? I hope we do; I believe we do. Forgiveness says as much about the character of the person bestowing it as the person receiving it. Learning to forgive may be the most difficult of human acts,and the closest thing to divinity, whatever you decide that is.
In the off-season you like to take a little time for yourself, but I'd like to say that people say I live in the weight room and that I had the keys to it. That's just the type of character I am.
Everyone loves the seventies because that's when movies were character-based, and you saw great characters and you saw very interesting filmmaking. There are interesting movies being made now, but it's harder and harder to make them.
In my mind what novels do best is that they immerse us deeply into our character's world - they truly transport us deep into these spaces - but the same way you know a Hollywood movie won't end after thirty minutes, you carry in yourself the implicit contract that the novel won't throw you out of itself 'til the very end. That bulk of pages is a form of consolation, of security.
Character is the plot in many ways
There are a couple of strategies for writing about an absence or writing about a loss. One can create the person that was lost, develop the character of the fiancee. There's another strategy that one can employ, maybe riskier... Make the reader suffer the loss of the character in a more literal way.
My thing is, I'm just way too harsh. It's an enormous impediment, and that's just the truth of it. It doesn't make me any better, make me any worse, it certainly isn't more valorous. I have a character defect, man.
Usually at the end of each story we're thrown clear out of the story's world and then we're given a new world to enter. What's unique about a linked collection is that it can deliver both sets of narrative pleasures - the novel's long immersion into character-world and the story anthology's energetic (and mortal) brevity - the linked collection is unique in its ability to be both abrupt and longitudinal simultaneously.
I seem to have to make my characters family before I can access their hearts in any way that matters.
It's quite quick for me to know if I want to play a character or not.
There are two movies where I keep my clothes on. My parents will be very proud. They're challenging characters, which I'm excited about.
I like to leave the movie theater and still be thinking about the film and questioning why the character did that.
I'm not someone who doesn't want to see the films, but I like to see them as an end product when the whole nuance of the character is put together.
That's the great thing about the 'Sin City' movies. Each little slot is incredibly meaningful, and each character has their own moment.
For a woman, body image is always a palpable thing. Weirdly, for me, the only time I don't care is when I'm in character.
I was like, "Everybody sees my characters. Nobody sees me!"
I read [The Women's Room] in my 20s, and I was like, "I understand this now." And now I've become a mom and read it again and truly understand on a different level what one of the main characters goes through as a mother.
Society asks of most men more than sheer intellect ability-it demands also moral hardiness, self-discipline, a competitive spirit and other qualities that in more old-fashioned terms we might simply call character.
In acting, you have a writer, a director, a character - you're working through being another person - and the irony I always tell people is when I acted early on as a teenager, it actually kept me out of trouble.
Before I thought there was a common denominator between my films - as if all my characters were sisters - but I'm not so sure now.
You have to put your ego aside as an actor. Or you're using your ego to tell the story. Your body is a part of a tool to tell the story. So if you feel something, it's wrong. It means you're not inside of the character.
