'Leave It To Beaver' is a fairly famous show in America, but I don't think it travelled. It was one of those typical '50s family comedies. I was in the pilot episode as sort of the dark presence: my character was called Eddie Haskill.
It was character that got us out of bed, commitment that moved us into action, and discipline that enabled us to follow through.
I feel like I've been playing Spider-Man my whole life. He's a character I've been pretending to be in my bedroom since I was a kid - so I've been preparing for this forever, I think.
There was one very special scene at the end of the film. My character, Zhao Di, has been sick. She wakes up and her mother tells her that the man she loves has come back from the city and had spent the day by her bedside.
In every age there has been a stream of popular opinion that has carried all before it, and given a family character, as it were, to the century.
Read enough about the dung beetle, and a picture of its character emerges: patient, optimistic, uncomplaining.
The American character looks always as if it had just had a rather bad haircut, which gives it, in our eyes at any rate, a greater humanity than the European, which even among its beggars has an all too professional air.
If you let the plot be determined by what you feel is in the character's mind at that point, it may not turn out to be a very good play, but at least it will be a play where people are behaving in a kind of truthful way.
Public behavior is merely private character writ large.
A character on stage who can present no convincing argument or information as to his past experience, his present behaviour or his aspirations, nor give a comprehensive analysis of his motives, is as legitimate and as worthy of attention as one who, alarmingly, can do all these things.
A minister of Jesus Christ should not be regardless of his attitude. If he is the representative of Jesus Christ, his deportment, his attitude, his gestures, should be of that character which will not strike the beholder with disgust.
Whether you're president or speaker, if you're wrong, we need to stand up and point it out. That's what Martin Luther King had talked about: being judged by the content of our character and not the color of our skin. So some of us pounded away on some of the ridiculous policies of Pelosi - and lo and behold, over time, the public began to see.
I think being mean to people in high school is healthy. It's sort of like you're in this situation with all these other kids and sometimes you need to get your aggression out. And if you'd had people be mean to you before, it really does build character.
I wasn't perfect and didn't have it together. I felt alone. So through acting, I decided to be a shape shifter and with every role become the character instead of being myself. It meant about 10 years of no one knowing I was the same person in every movie.
One match that really sticks out for me, there's a bunch of matches with all the guys that I worked with. For me, when I got in the ring, I approached it as being real because I was a real character. I didn't have a gimmick name; I didn't have a gimmick finish.
Even in comedy, you have to be real. It's all about being real. It's how real can you be? That's the challenge. How much are you willing to take on for your character?
Audiences have grown to equate being startled with being scared, and will complain that a movie 'isn't scary enough' if it doesn't have enough jump scares... so that means that a lot of studios will insist on shoving jump scares into a movie, regardless of character or story structure, thinking it 'makes it scarier.'
So, wrestling, being strong, having good matches? I learned that in New Japan. But as a TV character? TNA was good.
There's more pressure to be famous for being yourself than if you're being a character.
If the characters on 'The West Wing' were watching a TV show wherein a character like Trump was leading in the polls, they wouldn't find it believable.
