Character Quotes - Page 565

The problem is if you play enough of parts in films that are sort of more financial products than anything or films in which the girl is a thankless, thoughtless, underwritten character along the way, you're no longer the person who had something fresh or vital to offer. I think it really does start to diminish some part of you, to put yourself through things you don't really want to be doing.

I'm a character actor, so I don't take the hit if the movie's bad, the lead does. So, I don't want to be the lead. He takes the hit, I don't.

I did 125 films, and over 100 television shows, and you've never seen the same character twice.

When I get excited about a character, I'll start doing things as the character and thinking about what the character would do.

Some things just have a short, beautiful life, and some things have a longer one. One hopes that the things that go a long time are things that you love. It's like a relationship. The longer things go, you have to really work on that relationship with your character, with your castmates, the crew your working for, the producers, and the writers.

When what you do is play characters, every day, all day, I wasn't really interested in playing a pop star on the weekends. I wanted to be myself, and it slowly turned into not being me at all, so I just didn't really see the point. If the music actually happens, at some point, it will be because some underground following happened, or some little elves heard it and were leaking it.

I feel like it's too easy to just say, "We'll just change the name of this male character to a female, but have her do all the same things that a male does." I don't believe in that. I think there's something else. I think there's more to women than that.

The cool thing about doing a voice-over into a different language is that you get to bring the character of your own culture into it.

I really like 'This Side of Paradise' by F. Scott Fitzgerald. I think it's a cool description of a character.

I just want to challenge myself and play some different characters.

I always just get excited about the character. When something rings true for me, then I'm ready to do it.

It's almost jarring when you go to play a different character, after playing someone for so long. I love it!

I think that there's something really special about doing a series. You get inside the skin of that character 'cause it's such a long time.

Be intensely result-oriented in everything you do. This is a key characteristic of high performers.

If a movie makes it really big, they do the obvious thing, right? They make an amusement park ride out of it. ... The connection is obvious. You get off, "Man, that was just like the movie! Only the movie had a storyline and characters, and that was a little more like a roller coaster."

The other cool thing is, even with Jessica [Johnson], or Daredevil, I had taken a break from those characters for a while in the comics, so I can enjoy the shows without the agita. I completely love the Daredevil show. I feel no physical connection to it, because it was 10 years ago since I wrote that comic, so I can just enjoy it. And when people connect it in a positive way to me, I go, "Well, that's very f - king flattering!"

You can't just have a fight scene. In my opinion, it has to be a character moment or story moment.

I see this with experienced writers, too: They worry so much about the plot that they lose sight of the characters. They lose sight of why they are telling the story. They don't let the characters actually speak. Characters will start to dictate the story in sometimes surprising, emotional, and funny ways. If the writers are not open to those surprises, they're going to strangle the life, spark, or spirit out of their work.

I obviously love those characters ['The Avengers'] with my whole heart. I was on a one-man "Luke Cage is cool" campaign for most of the Aughts. When we announced the New Avengers line-up, and Luke Cage and Spider-Woman were there, a lot of fans went, "WHAT?!?!?! Bulls--t!" And I had to prove myself. They were right: I can't just announce they're cool. What's less cool than that? I have to show that they're cool! But this is way farther than I ever thought it would go.

I think a lot of creators are attracted to those toys they got to play with when they were young, and everyone wants to write a Superman story or a Batman story or a Spider-Man story. I don't know, if it's been successful for me, it should be successful for anyone. "Hit the ground with your feet running" is the secret of breaking new characters when it seems like no one else is having any luck.

Oh, well, I can't tell you; it would be telling you the end. It's a one-character lip-syncing because in the early days, that's what my dad was doing.

And then while she's lip-syncing, "I've Grown Accustomed To Your Face," to this little head next to her, the head eats the cloth fabric and swallows it and it's sort of this weird, demonic character there, who then tries to eat the singer. But it's a lot of fun. So there's a couple of pieces like that.

Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.

And one of the funnest things was watching what they did before the director called action and after the director called cut. And they'd keep their hands in the puppets, they'd stay in character, and then they'd start goofing around with each other and be off of script, and it would get quite blue.

I like 'The Simpsons' quite a lot. I love the irreverent character of the whole show. It's great.