Quotes of All Topics . Occasions . Authors
I have always like doing accents; I find it much easier to get into character for me.
People will always consider me a cartoon character, a bimbo. They will never give me credit.
I really enjoyed playing Freddie Cork. People are always scared to approach me because of the character I played in 'Brotherhood.' The writing was very smart.
What a character wears and how it affects their mood and their movements has always been very important to me. A character's clothes, if they're truthful, can make audiences feel something.
Scottie was just a different character than Michael. He was more the soft side. Every once in a while he would explode, but he would help me. Michael on the other end was almost always aggressive.
There's always been a lot of misunderstanding about Lando's character. I used to pick up my daughter from elementary school and get into arguments with little children who would accuse me of betraying Han Solo.
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.
Acting has always been a way for me to express the emotions I had buried. If I hadn't acted, I would have gone insane. In my acting class, I could let out my real tears and everyone thought it was the character. But no, it was me.
My stories often begin with a situation or character rather than an insight about the human condition. It's always been difficult for me to write from an abstract idea, no matter how interesting or compelling I feel the idea might be.
I remember, working on 'Lost,' I learned very quickly the way that I had to approach the material or even ask the director questions. It was always prefaced with, 'Would it be wrong for me to assume?' Because I didn't know where my character on 'Lost' was going.
You get a bad review with a novel, and it hurts. But I imagine if you get a bad review with a memoir, it hurts more because you can always say, 'Well, they didn't like my characters,' but when you're the character, it's like, 'Oh, yeah, they actually didn't like me.'
I mostly associated video game storytelling with unforgivable clumsiness, irredeemable incompetence - and suddenly, I was finding the aesthetic and formal concerns I'd always associated with fiction: storytelling, form, the medium, character. That kind of shocked me.
What I loved about romances was the character, and I think I still bring that to my novels. What romance taught me was that the 'who' will always matter more than the 'what.' It's fun to come up with plots, but I want to make sure the reader cares about who it's happening to.
To me, it always comes down to character and script and then director. If a character belongs to me, it's mine. We belong to each other, and I feel a fierce need to tell that story, and it just so happens that a lot of these characters have been residing in pretty dark worlds.
I've said this before, but I've always felt more comfortable playing the guy who thinks he's the hot shot or thinks he's the greatest and is so far from it, you know? The misguided character. That's always more interesting to me - especially with a comedy. I've always felt inside more like a character actor.