I guess because I pay so much attention to the physical part of the character, I don't look upon it as like Charlize Theron up there. I don't think of them as like Charlize Theron films.
I want to play a character I've never been before-a crazy serial killer like Charlize Theron in Monster. I'd love to have to shave my head.
I adore actors/actresses that have range: someone that can transform into a character that is far beyond who they truly are. Charlize Theron and Johnny Depp are amazing at this.
We seek to craft characters who inspire empathy: characters our audience will care for and, as a result, will care about what happens to them and thus will share the journey we have charted. A story, after all, is the character's journey.
If taxes are laid upon us in any shape without our having a legal representation where they are laid, are we not reduced from the character of free subjects to the miserable state of tributary slaves? We claim British rights not by charter only! We are born to them.
Starting in my 20s, I couldn't wait to look like Anna Magnani or Isabelle Huppert, all these great European actresses - Charlotte Rampling - the cheekbones and the heavy lidded eyes and the dark circles under the eyes, you know. So around 42/44, I started getting a little character on my face, and I was so glad.
When I was little, I used to get a comic - 'Cheeky Weekly' - which was a weekly comic whose main character was Cheeky. I used to get 'Roy of the Rovers,' too.
I really want to work on characters that have a lot of complexity and you don't always get that in comic book movies because they're not character explorations. I have nothing against movies like that, but I do see them as kind of like a cheeseburger.
Actors are hard to photograph because they never want to reveal who they are. You don't know if you're getting a character from a Chekhov play or a Polanski film. It depends what mood they're in.
I found out was, by the rhythm of my chewing, how I chewed fast, slow or what have you, I could tell the audience what my character was thinking and feeling.
Don't let your special character and values, the secret that you know and no one else does, the truth - don't let that get swallowed up by the great chewing complacency.
'Chewing Gum' is a sitcom set on an estate in east London. Its central character is a girl from a Pentecostal background who decides to embark on a more worldly lifestyle - it's about adolescence 10 years too late. In my dreams, everybody is watching it, finding out about my world and realising it's not what they imagined. That it's not terrifying.
The formation of one's character ought to be everyone's chief aim.
I think there's a character one has if you're a chief executive officer. Movies would suggest you're a bad person - if you're wealthy, if you've done well, oh, you must be bad. And frankly, winning the lottery doesn't change who you are; you're the same person inside. And I'm the same person I was as an 18-year-old who fell in love with Ann.
I would certainly choose my jobs depending on the actions of the character. I won't do anything that has to do with child abuse or women's abuse.
Lordy, lordy, lordy do I love money. It is a character flaw, no doubt, one that springs from a panicked childhood in which I always felt as if our family was only a couple missed child support payments from being tossed onto the pitiless streets of our suburban New Jersey town.
I had been struggling with how to create a child-like protagonist's voice without making it sound as though I was 'dumbing down' to the character. They are able to see events, people and places with an intensity and open mindedness that adults lack.
I think Jack Nicholson in 'Chinatown' is a very funny character, but I would never call that a comedy.
It all goes back to 'Wow, I never knew this about Marco Polo.' This is an incredible story and an incredible character, and such a rich world of Mongolian and Chinese culture.
Life is a quarry, out of which we are to mold and chisel and complete a character.
