Character Quotes - Page 494

There has been a big debate about it: can a black man play a Nordic character?

When I look at my body of work, I've played a lot of characters who are morally conflicted - 'I'm right, no I'm wrong, I don't know what to do!' I want to play more characters who don't care as much, and who aren't as measured. They are what they are, no apologies.

Every single film I've done, it's about the character.

I would never be fearful of any character.

Every actor has to love and loathe the character he plays.

What takes courage: no make - up. No make - up at all. Like The Matrix. I did the matrix and they had a rule all the characters in The Matrix, except the leads, of course, wore absolutely nothing on their face.

In the old-fashioned sitcoms, to be gay was, in itself, funny, and you laughed at the characters rather than with them.

It troubles him to consider the powerful currents and fine-tuning that alter fate, the close and distant influences, the accidents of character and circumstance.

There was, in my view, an unwritten contract with the reader that the writer must honour. No single element of an imagined world or any of its characters should be allowed to dissolve on an authorial whim. The invented had to be as solid and as self-consistent as the actual. This was a contract founded on mutual trust.

He (William Cort) had some desire to be successful, but it did not burn so strongly in him that he was prepared to overcome his character to achieve it.

You get so caught up in what you're writing - action sequences tend to do that more than anything else because you're living it, and feeling for your characters.

I wouldn't like to be a character in one of my books!

I think you do have to attend to the sort of core values of film, which is that the audience wants to have a relationship with the characters, they want to understand what's going on there. There are certain things that comics can have a little bit more freedom in then when you're asking an audience to engage in it as a piece of cinema, but I do feel like the canvas is much bigger and wider and that we're being invited and frankly challenged to take risks, to be a little bit different. And that's fun, that's exciting.

the heart of religion is not altered states but altered traits of character. For me, then, the test of a substance's religious worth or validity is not what kind of far-out experience it can produce, but is the life improved by its use? That's the test. Now, on that score, if you remove the "religious cocoon," the experiences don't seem to have much in the way of discernible, traceable effects.

New York is a character, all on its own, and whenever you film there, it becomes part of the show. That's just the nature of being there.

I'd like to be the John Wayne of the '90s. Not in terms of being the macho guy, but as a solid male leading character. Making an action-adventure comedy that kids can see with their families is a natural extension of what I did in wrestling.

I think any role you need to play not so much transforms but I like to think of it as understanding the psychology of another character.

As human beings, of course, we're all compromised and complex and contradictory and if a screenplay can express those contradictions within a character and if there's room for me to express them, that's a part I'd love to play, so much more than a character who is heroic and one-dimensional.

I think one of the things I always loved about the comics was this idea that this character, when he goes berserk, that white, blind rage makes him incredibly powerful, but it's also a great flaw. It's almost like he loses consciousness of what he's doing. During that he can do great damage.

If I weren’t getting paid or didn’t have a character like Wolverine to maintain, I would just be a tall, lean, fit guy.

When I made 'Real Steel,' the director actually had the robots in the monitor, so he knew where everything was. So technically, there's been advancements. But at the end of the day, movies are about story and characters, so all the other stuff is great, but unless you have those two elements, then you've got nothing.

I play the sort of character who would sell his grandmother for career advancement, something I've come across a lot with actors.

I look for the essence of a story and a human angle that I think audiences can relate to. I also look at how the dialogues flow in the film as a whole and between the characters, and most importantly I always consider what I can bring to the character from a creative point of view.

That so much of our experience, or the stereotype which passes for it should be dealt with by means of the short story is perhaps a symptom not unnoticeable elsewhere in the public domain of an unlovely cynicism about human character.

When you do a TV show, the cumulative intimacy you develop with the audience through your characters is pretty profound. It may be the most profound storytelling there is, because the character gets to live and roll around in the audience's mind week after week.