I would love to do anything involving a good strong character, whether it's in film, TV or theatre. My dream role's already been taken by Keira Knightley in 'Pride and Prejudice.' Growing up, I really wanted to be Lizzie Bennett.
It's all about story and character with me, and I don't care if the job is on daytime or prime time or the web. Hey, give me a good character and someone to listen, and I'll do my acting on a street corner.
It was fun playing a horrible, snotty kid in 'Harry Potter', and then playing Prince Charming where I was also singing and playing guitar, and then playing a completely different character.
Character is the result of a system of stereotyped principals.
I don't think a lot of actors talk about it, but there's usually a process where you essentially purge yourself of the character that you played prior to the movie.
I'm not interested in playing characters who see the world through my prism; I think the journey of understanding any character is to see how they tick and how they differ from you.
My character in 'Prison Break' needs to be formidable. In reality, I'm not very tough at all.
It's such a private thing - 'my process' - I can just say that the work that I do is like therapy between me and the character.
Of all the properties which belong to honorable men, not one is so highly prized as that of character.
You don't want to be ungenerous toward people who give you prizes, but it is never the social or political message that interests me in a novel. I begin with an interest in a relationship, a situation, a character.
There's a lot of successful procedural shows that are out there. A lot of them are very successful. I just know there's an audience out there that wants character also.
You should be watching 'White Collar' because it's a fun, intelligent procedural infused with a lot of great character writing by Jeff Eastin.
'Monk' planted the seed that a procedural could have character and be quirky and have comedy.
I think what we've been able to do with 'Longmire' is balance this procedural with a bit of a soap opera, and it's a character study of this character, Walt Longmire, and the people around him.
In my professional career, every time I jumped into an organization, I always reached the top and the title. I know with NWA with Jeff Jarrett, TNA, I was their first heavyweight champion, so I was able to reach that pinnacle. With Pancrase, I was their first champion and was also able to bring it to the U.S. using my character.
Show, don't tell, is a mantra repeated by tutors of creative writing courses the world over. As advice for amateurs, it is sound and helps avoid character profiling, unactivated scenes, and broken narrative frames.
One of the surest signs of the estimated changes in the consciousness of the American proletariat is to be found in the character of the demands now being put forward by the leadership.
When I was training before I was even signed, I was listening to the Damian Marley CD 'Welcome to Jamrock,' and I got the idea one day in promo class to cut a promo in a Jamaican accent and everybody in the class went wild. That was the character I played from that point on and it kind of stuck until it didn't.
I just loved Jake The Snake because of that character and how he cut a promo. That dark nature of his character was amazing.
I've learned that in the theater the story is everything. Every lyric, every line and every musical gesture has to propel the journey of a given character or the overall plot.
