Character Quotes - Page 503

I think there are parts of myself in every character I play.

I find it really hard to throw myself into something artistically where I'm making up a whole character and finding something for that character to do.

When you're directing, I feel like I'm playing all the parts, without the make-up. I really get into the heads of the characters.

When I leave the theater I can always hear people talking about the character, and everyone always says, "You know, I know someone like her." And I always think, Everyone knows someone like the characters; nobody is like the character. Nobody wants to admit that they are a little bit like that.

It's fun to play a character when you can't concern yourself with how sympathetic they are.

With the television thing you have this lull of time where you're not with the character. And when you get those first pages, you're like, "Who is she again? Huh? Where did we leave off?" Then you show up at the read-through and all of the sudden the voice is there, and you realize that the character is still stewing in you all that time, even in the downtime.

Sometime female characters, especially in the genre of something that people consider rom-com, make mistakes in a cute way or they're a mess in a way that's palatable. I like that.

The principal object of your reading should be for the acquisition of useful knowledge , and the strengthening, refining, and ennobling of your character.

We start out in identical perfection: bright, reflective, full of sun. The accident of our lives bruises us into dirty individuality. We meet with grief. Our character dulls and tarnishes. We meet with guilt. We know, we know: the price of living is corruption. There isn’t as much light as there once was. In the grave we lapse back into undifferentiated sameness

You go back to the Baldur's Gate days, we literally had 32-pixel characters strutting across the screen, and we'd have a couple lines of voice and a lot of text. On one hand, it's a reflection of the evolution of the technology. On the other hand, though, I think it's a reflection of our aspirations. We've always felt that the medium can get more and more cinematic, and I think when it follows the convention of Mass Effect 2 film, it grows more and more compelling. There's a hundred years of knowledge and learning in that space that we can then apply.

With Mass Effect we said, "Let's reflect the fact that you can be almost anyone, do almost anything, but..." In our minds, we always felt the character was iconic.

Certainly if it's something you created, like Gargoyles was for me... on the one hand it becomes you and the other writers as well. It's not like it's a one man band by any means, but at the same time when something's really working, when you've got a group of characters that really are clicking and humming, they begin to tell you what happens next. It just all begins to feel right and that was true about Gargoyles. Not true about every show I ever worked on, but it was definitely true about Gargoyles.

We learn more about the character of people on one off day, than on all their best days put together.

My favorite kinds of stories are the ones that have these big crazy genre hijinks and then a real honest, meaty, emotional story where we're watching a character grapple with some real things.

Almost everyone working in mainstream comics started off as a starry-eyed kid reading and loving comics. We're all fans, and that's great. But when we start working on company-owned comics professionally, we have to think like storytellers instead of fans. Editors aren't looking to hire the biggest fans of the characters. They're looking to hire the best creators with the best ideas.

I feel this way about a lot of movies, that the characters are idealized versions of people. For better or worse, I am as fascinated with human flaws as anything.

When I was a TV director working on Judd Apatow's show Undeclared. I was surrounded by so many young people. People like Seth Rogen, who was 9 years old or something. It was just a ridiculous amount of talented young people. I started to think I'd like to see a young-love movie, but not one done in that glossy, Hollywood, high-concept manner we've become accustomed to. One that was, for lack of a better way of putting it, a little more ambiguous, '70s-style, where everyone was flawed, middle-class characters.

I like complicated characters.

The tragic element of a character is always intriguing I think.

There's something in human nature, the trying-to-get-on-with-it quality of people, the struggle to maintain or keep the show going can be exhausting. It just seems like that element of trying to move forward while things are breaking down... Obviously, it's always been the backdrop for a lot of great literature and great cinematic characters, but aside from that, I'm just drawn to it because that feels honest to me.

I have always been business minded, always been sorta an entrepreneurial guy; I played a character on Felicity that was modeled after me, actually.

You really have to be a character to serve it properly. Obviously, you're acting, but you have to have those things in yourself, whether it's the experience or the same qualities.

Playing characters that speak a very violent language was my livelihood.

If you trust that the people making the show love the source material and the characters, and it's a different medium and there are different requirements for long-form storytelling that will hopefully carry over a number of seasons, then it's exciting.

I would be Jesse Martin ..., but not to be his character, just so I could be Jesse Martin and sing like Jesse Martin for a day.