Character Quotes - Page 351

I think the love scenes are very powerful and they're not trying to simply show the bodies of the actors but trying to reflect the inner feelings of the character so it's easier in that way.

I was 19 years when I got into acting training classes at a TV station and then I found a way to express my feelings. My father left us when I was a kid and I just shut down all of my emotions. I wasn't talkative; I didn't know how to communicate with people. I tried to separate from people. After I got into the classes I found a way of expressing myself through characters. I can cry behind a character, I can shout behind a character and it became a relief. And it's fun.

I love musicals but it's very, very different. It's really just a different form than serious drama, and has very different rules and a completely different set of characters and requirements and ambitions. It maybe shouldn't be as separate as it is, but it's got a different history. In terms of serious drama, I think you'd have to say that you could break it down essentially into the narrative realist tradition and experimental theater.

I'm socially awkward. What draws me to playing socially awkward characters? I think they're interesting. I'm fascinated kind of by - I mean, I know I'm sure I've got my own social awkwardness but I'm kind of fascinated by that and I lived, probably, I attribute it - I lived in New York for a long time, road the subways, saw a lot of awkwardness, but they're just interesting. They're not cookie cutter. They're usually very colorful characters. They see things different ways and, I don't know, its just a kind of - just a kind of life that interesting to me.

I've had the opportunity to do a wide range of stuff, a lot of different characters and they've all had their own kind of thing.

I directed and produced Conviction, a movie about a man who spent 18 years in prison for a crime he didn't commit. I got to know Innocence Project co-founder Barry Scheck very well - he's a character in the movie - and I got very passionate about the cause. It's just so inherently dramatic.

I want to keep doing different things. I'd like to do a more personal, dramatic movie next, I think. But as long as it's about characters and good writing and good parts for actors, that's what's important

I don't want to do an action movie, because I've acted in them, and they're so boring to do, because they're so technical. The headache of that is daunting. But, if it were an action movie with really interesting characters, how great would that be?

Nothing is more deflating to morale than to have a poor outcome pinned on someone who doesn't deserve it. It lacks integrity and overvalues the outcome at the expense of the people as well as the process.

I'm confident that there are plenty of people who have the strength of character and the presence of mind to warn me of difficulties and alert me to opportunities.

If you look at my body of work, my characters drastically vary, and so I typically don't play the same role. It makes me feel reborn with each role.

A solid theatrical education can only improve a screen performance. It gives you a fuller capacity to read a script and understand a character, for one thing. Its important to alternate between the two activities.

Some literature is knowledge, some is just data. But if I can get a "happy" ending - which is when for the characters I'm writing about, something happens that they move from wherever they are in the beginning to knowledge or wisdom, they know something they never would have acknowledged or realized if it hadn't been for my book - that for me is what literature does.

I don't try to live the life of my character but I think it's inevitable that there is some carry-over into your life.

I personally kind of yearn to play characters who are complex and who strike a truthful chord in me and who are challenged in some way and, I guess, who kind of move through those challenges.

I've never really been a fan of violence. I'm more into the characters and their journey and those kinds of movies don't really allow for that. It's a different focus.

I think I'm true to myself - you hear that actors have like plans. I'm gonna do this type of movie, then I'm gonna play this kind of character, and that'll get me from A to B. I've never done that. I honestly just follow my gut and I don't think you can go wrong with that.

If you are referring to the characters of The Room, each character has a different personality which you can see very clearly on the screen. If you are referring to the actors, they give me different emotions, personality which represents human behavior.

I really like the Chris-R scene and of course the "you are tearing me apart Lisa" scene. The reason I love the Chris-R scene is because we worked really hard to finish it. It's not just that though, it brings people together. Everyone is one the roof together by the end of the scene. You see the perspectives of the different characters. I feel like with all the connections in this scene that the room connects the entire world

This is a corny actor thing to say, but the first step is that you can't judge the character that you're playing. If it's built in three-dimensional fashion, you'll just play a character who's going out and seeking the best version of their life that they can find. That gives the character an accessibility that everyone can identify with.

Pres. Lyndon Johnson was a middle-aged man of smalltown America, both a Westerner and a Southerner, and except where politics had demonstrably forced his growth-as on the question of civil rights-he functioned like most men, as a product of his background.

Every single song has its own individual character and you can't treat each song the same way, because it wants to be treated differently and there are songs that are like scared birds that you have to sneak up on over the course of months in the woods.

With Dustin Hoffman, I just enjoyed the fact he was this flamboyent and very ironic person that still followed my desire to make Baldini in the Perfume: The Story Of A Murderer not simply a joke, or the funny guy, but also a personality and a character.

I was lucky I guess. My main job was done when I finally found Ben Whishaw and knew that there was someone who could portray a character who was so ambiguous and multi-faceted. Ben is equally dark and innocent; potentially violent and yet at the same time kind of a boy. He got all that across and still makes audiences root for the guy even though they might be kind of disturbed by that fact.

I wanted to create a believable feeling for 18th Century reality in the Perfume: The Story Of A Murderer. I didn't want this typical film feel of strange people in strange costumes, not really knowing what to do or how to move. If you put an 18th Century costume on Alan Rickman, it looks like he's been wearing it forever because he inhabits the stuff. He is a character that can really travel in time as an actor and transform into this 18th Century person with seemingly no effort.