Character Quotes - Page 554

People really do identify with the characters they see on the show, but these days, social media allows you to interact with fans in a really interesting way. On my Twitter account, I'm Chris Carmack, not Will Lexington. I interact with fans and joke with them. I'll post pictures from my life. I think that helps drop the curtain of a character.

All my characters exist in risk, in the places we are either too afraid to go to, or have enough privilege not to have to, but whatever the reason, these characters I fashion go before us and come back transformed for us. For me, at least.

Since I hold no judgments against my characters, no matter how heinous they might seem, I present them as real people with their own moral centers. We might feel those moral centers are mis-calibrated, but they are there and are the rudders that propel them. This makes reading my work a visceral roller coaster, 'cause the reader must embark on the journey of the protagonist equipped only with his or her own moral center.

Meek's Cutoff by Kelly Reichardt. It's beautifully shot. It's a complex story. The filmmaker gave a very patient and feminine touch to a story that takes place during a period of history that's very masculine, without losing any of the unforgiving harshness of the reality where the characters found themselves in.

I think because I have quite a normal family and I'm bored with how normal my family is. I want to mess stuff up a bit. I chose the messed up characters because I find that that's acting. I want to explore emotions that you otherwise wouldn't be able to explore.

I'm only 13, so I can't say "life experiences." So, basically, I had to... act! I had to make up character that is very old. I guess that's why they call it acting - you do draw from some stuff in your life, I guess, but it's not real life. You have to fake it.

I think I enjoy working obviously as a lead, but also you know I feel I'm also a character actor as well, so I enjoy approaching various projects in all sort of capacities. Any film I have been able to do I feel very fortunate to have been a part of.

I've often had the fortune to work on projects with a small theme I find very interesting enough to pursue and to be passionate about in the context of the story, then it may turn out there's a universality about my character which still resonates with many people as well.

Once you click into a character, to a certain degree, you can do a lot else. You can do other stuff, then come back and click right into the character. It's sort of funny that way, the way the mind works. Once it's there, it's sort of there. For the stage, for example, all through the day, you're not onstage. You're living your life, la-la-la, then the lights go down, then boom! All of a sudden, you're in this thing. There's a kind of reflex muscle trigger that happens, and all of a sudden you're back into the role. It's just getting there in the first place that's tricky.

I think a lot of acting is about the removal of self-consciousness. The actor is going to be in front of a lot of people, and will naturally feel self-conscious. So a lot of the preparation for that is the removal of that idea. Like you embody or are connected to this character, therefore you can present this character in a way that eventually, when you come back to see it, you feel not exactly ashamed of.

My characters are usually composites. I wish I could pretend that I make up all of these characters, but no. I steal from people. But people will say to me, "Oh, that's me!" and I'm thinking, no, that's not you!

While my work is usually about the Igbo woman experience, there are many aspects of my female characters that women everywhere can and do relate to.

Michael, from 'Six Dance Lessons...' He was somebody who had a lot of self-loathing; being a gay man who lost his family and felt ostracized. It was an interesting character to play. He was so bitter and jaded about life. Even though I'm not like that personally, everybody has a side of themselves that tends to look at the negative side of things. He was an interesting character to play.

For me, it's important that I experience and feel what the characters are feeling. So I put myself in those moments, in their thoughts, and let it happen naturally. I write what I feel.

My [story] outlines are usually about 5-6 pages long. I'm essentially telling myself the story in short form. I try to make it clear who the major characters are, what they want, and what obstacles they face.

Before I start a book, I talk over my characters with a friend who is a counselor. I like to make sure I have the right dynamics in place and understand each character's belief system, fears, coping mechanisms and things like that.

The chief characteristics of the [liberal] attitude are human sympathy, a receptivity to change, and a scientific willingness to follow reason rather than faith.

I definitely did not play myself. As the writer of the script, I have traits of all the characters. I can relate to all of the characters.

When you step in to act, you just zoom way in on the longest possible lens and you're just totally in the point of view of your character and you have to forget about everyone else. You don't care about what anybody else is, what they want or what they're trying to do. You're just concerned with your circumstances, what you're trying to get out of someone or some scene.

There are lots and lots of different films that I love, and watching different characters and how different people play them.

I've always had some sort of affinity for the ends of things. It depends on the song, I try to explore it in different ways. Sometimes when I think about death I'm thinking of it as a physical character that can teach you things and sometimes I'm thinking of it in a finite sense and other times I'm just asking questions that I can't answer. I don't really like to state my personal belief, because I change my mind too often, but I imagine something peaceful. Whether it's a rest or another world or some kind of eternity, it doesn't seem like a scary thing.

Science asks no questions about the ontological pedigree or a priori character of a theory, but is content to judge it by its performance; and it is thus that a knowledge of nature, having all the certainty which the senses are competent to inspire, has been attained--a knowledge which maintains a strict neutrality toward all philosophical systems and concerns itself not with the genesis or a priori grounds of ideas.

It's fashionable for modern actors to talk about getting 'inside' a character. But you can't get to the inside without getting the outside right first.

I've never played a character where I've had so much fun on the physical end. I don't want to say I like it too much but it's fun having a gun on you and getting to manhandle men.

Too often do reviewers remind us of the mob of Astrologers, Chaldeans, and Soothsayers gathered before 'the writing on the wall' and unable to read the characters or make known the interpretation.