I didn't realize House would be the central character, more the bitter comic relief appearing occasionally. I relish his wounded nature - the lameness, the scarred Byronic hero.
I think on 'Third Watch' that I was the comic relief on a lot of that. I mean, I definitely had dark moments, but people tended to think he was funny even if the character himself wasn't having a fun time.
There's no one else like Hodor on 'Game of Thrones.' There's no other character with that warmth, humanity, and a little bit of comic relief.
Accents are not for comic relief anymore; they root the character to the place they're from.
The nature of an ensemble means when you're a supporting character and not the lead character, you get little tidbits here and there, but you're usually there to provide bits of comic relief and little bits of action or something.
Taking a comic strip character is very hard to write. Because comics are meant to work in one page, to work in frames with minimalistic dialogue. And a lot of it is left to the imagination of the reader. To do that in film, you've got to be a little more explanatory. And that requires a good screenplay and good dialogue.
I may have got a little carried away and many critics found fault with some aspects of the film, but as a coming of age film of a character, 'Vaaranam Ayiram' worked with the audience.
At a certain point in my career, I was probably having a difficult time 'holding space.' So you get a character that has to be commanding in order for him to resonate and make sense.
I get really negative comments all the time, but the comments that really bother me are the ones that question my character.
Mrs. Miniver was an ordinary middle-class English housewife, a character created by Jan Struther when she was commissioned by the 'Times of London' to write a weekly 'cheer-up' article in 1937.
The philosophy of the common man is an old wife that gives him no pleasure, yet he cannot live without her, and resents any aspersions that strangers may cast on her character.
I think that the two worlds of fashion and acting world have a lot of common things, because we all build a character.
Well, I'm not a method actress by any stretch of the imagination so the best thing that I can do is be as real as possible and find whatever commonality in that character that I can see myself.
Storytelling is about two things; it's about character and plot.
One strength of the communist system of the East is that it has some of the character of a religion and inspires the emotions of a religion.
Character is greater than talent, genius, fame, money, friends - there is nothing to compare with it. A man may have all these and yet remain comparatively useless - be unhappy - and die a bankrupt in soul.
When it comes to developing character strength, inner security and unique personal and interpersonal talents and skills in a child, no institution can or ever will compare with, or effectively substitute for, the home's potential for positive influence.
Don't go around asking the question, 'Is this character likeable?' and expect that to be compatible with serious literary endeavours. That's not what it's about.
If physical power be the fountain of law, then law and force are synonymous terms. Or, perhaps, rather, law would be the result of a combination of will and force; of will, united with a physical power sufficient to compel obedience to it, but not necessarily having any moral character whatever.
We tend to have so many more close shots, which compels an artist to actually put in more effort than it is required otherwise. So, it is the expressions on the face, and how an actor presents his or her character, that really makes a scene. In such ways, Mollywood is a fabulous training ground for actors and actresses from other industries.
