If you carry the weather with you, then character is determined by the prevailing wind
I like playing a character every day. I like having something to go back to. I always enjoyed that with 'Will & Grace. ' I like the camaraderie. I like having a crew that I know and I can work with every day.
I consider it an actor going to work with other actors. It's not a competitive sport, it's not to outact anybody else, sorta thing, you can be a bad actor but you don't outact anybody, you just bring your character as best as you can.
Howard Chaykin was one of the few who dared to make mainstream comics different back in the eighties; it was guys like him, Alan Moore and Frank Miller who made sure there'd be no going back. Howard's work on The Shadow is amongst his very best: razor-sharp character work, sizzling dialogue and an unsurpassed sense of layout and design.
Sanctification is not a work of nature, but a work of grace. It is a transformation of character effected not by moral influences, but supernaturally by the Holy Spirit.
When you have a set of characters, you have to fall in love with them and care about them as each individual character.
Giving style” to one’s character - a great and rare art! It is exercised by those who see all the strengths and weaknesses of their own natures and then comprehend them in an artistic plan until everything appears as art and reason and even weakness delights the eye.
Show me a man who feels bitterly toward John Brown, and let me hear what noble verse he can repeat. He'll be as dumb as if his lips were stone.
The lucidity of the battle narratives, the vigor of the prose, the strong feeling for the men from generals to privates who did the fighting, are all controlled by a constant sense of how it happened and what it was all about. Foote has the novelist's feeling for character and situation, without losing the historian's scrupulous regard for recorded fact. The Civil War is likely to stand unequalled.
Sometimes the characters develop almost without your knowing it. You find them doing things you hadn't planned on, and then I have to go back to page 42 and fix things. I'm not recommending it as a way to write. It's very sloppy, but it works for me.
With any character, the main objective is to bring authenticity to the role.
There's a character that I play onstage, and I can't let him loose in the supermarket when I'm buying my beans on toast.
Wild Bill was a strange character. In person he was about six feet and one inch in height. He was a Plains-man in every sense of the word.
Does not the possibility or the power to do something about the situation at hand confer on one the responsibility to do it?
We must take care to live not merely a long life, but a full one; for living a long life requires only good fortune, but living a full life requires character. Long is the life that is fully lived; it is fulfilled only when the mind supplies its own good qualities and empowers itself from within.
A lot of readers ask me, "Do you ever get emotional while writing the book?" or "Did you cry when you killed this character?" And the truth is, no, I didn't. That's not really the way I approach it. I don't get emotional while writing, but then there are plenty of other authors who do.
The male intimacy and raw honesty was already developing on the page 'Oscillate Wildly' with these characters. Being explicit would not only distract and alienate certain audiences, it would limit who has access to the film, and that's something I think a lot about with this story.
It was important to have a similar energy in my performance. To make the character too different would have just been about my ego because it didn't need to be drastically different.
I think that if you just write your characters you end up with something that people can access.
If I'm doing a talk show or an interview, or pretty much anything where I can't control the context, I'm loath to do the character.
