If you look at Cinderhella, from a production design aspect, I tried to find an interesting, iconic character, having her face wrapped up in bandages. That was funny. On the dream logic level, you'll see the parallels of that interesting connection that I made. There's a reason why she's called Cinderhella.
The character of a nurse is just as important as the knowledge heshe possesses.
The vogue of the New Negro. . . had all of the character of a public relations promotion. The Negro had to be "sold" to the public in terms they could understand.
The sexy moments for me, I wasn't thinking of them as sexy. I was thinking of them as more specific to my character. So it was necessary for my character's development in the movie, so that's how I played it.
There is no Champollion to decipher the Egypt of every man's and every being's face. Physiognomy, like every other human science,is but a passing fable.
I won't even think about acting in a role where I didn't do a back story for a character.
What a cruel irony of fate, to pair together, like Siamese twins united by the shoulders, scientific adversaries of such contrasting character!
Failures not a bad thing. It builds character. It makes you stronger.
What draws me to roles, I think, are moments - moments that define character, where so much more of the story is told in just a moment - a look, a line, a short scene, but something that speaks a volume, something that speaks to me.
Comic book fans have loved Wolverine, and all the 'X-Men' characters, for more than the action. I think that's what set it apart from many of the other comic books. In the case of Wolverine, when he appeared, he was a revolution really. He was the first anti-hero.
American exceptionalism is the recurring character in the nation's narrative.
No author has created with less emphasis such pathetic characters as Chekhov has.
The great thing about literature is that you're making up your own interpretation of the character anyway. Also, you're given basically a bible of who a character is and you're kind of shooting yourself in the foot if you're not reading it.
Holden Caulfield is the best character in literature, period.
You see? Characters in books do not read books. Oh, they snap them shut when somebody enters a room, or fling them aside in disgust at what they fancy is said within, or hide their faces in one which they pretend to peruse while somebody else lectures them on matters they'd rather not confront. But they do not read them. 'Twould be recursive, rendering each book effectively infinite, so that no single one might be finished without reading them all. This is the infallible message of discovering on which side of the page you are on.
I want to go and have a real experience and it's just lovely to sit and watch a movie and just be really transported by a story and care about the characters. That's always what I'm looking for.
Whatever you lend let it be your money, and not your name. Money you may get again, and, if not, you may contrive to do without it; name once lost you cannot get again.
And when I'm writing, I write a lot anyway. I might write pages and pages of conversation between characters that don't necessarily end up in the book, or in the story I'm working on, because they're simply my way of getting to know the characters
I definitely have character arcs in mind for each character unless I kill them.
In the search for character and commitment, we must rid ourselves of our inherited, even cherished biases and prejudices. Character, ability and intelligence are not concentrated in one sex over the other, nor in persons with certain accents or in certain races or in persons holding degrees from some universities over others. When we indulge ourselves in such irrational prejudices, we damage ourselves most of all and ultimately assure ourselves of failure in competition with those more open and less biased.