When the mind once allows a doubt to gain entrance, the value of deeds performed grow less, their character changes, we forget the past and dread the future.
My character and good name are in my own keeping. Life with disgrace is dreadful. A glorious death is to be envied.
When you describe a character's dream, it has to be sharper than reality in some way and more meaningful. It has to somehow speak to plot, character, and all the rest.
I have this dream life where I get to be a celebrity but I get to navigate the world fairly easily because I'm always in character.
Judge of your natural character by what you do in your dreams.
Dreams are the touchstones of our character.
I work with my acting coach to help me get into character and do pronunciation drills and tongue twisters to help me deliver lines.
I just always want to play people. I don't want it to be necessarily that you relate to the character as female or male, but that you relate to them as a person. That's the driving force.
And that's what I really love, is finding a script and fantasizing and going to a different world and kind of portraying a character that is interesting. Because other lives interest us, that's why we read magazines like 'People' and try and fascinate and drool over what other people are doing.
It is seen that both matter and radiation possess a remarkable duality of character, as they sometimes exhibit the properties of waves, at other times those of particles. Now, it is obvious that a thing cannot be a form of wave motion and composed of particles at the same time - the two concepts are too different.
A character on screen that's the 'good guy' or the 'bad guy,' they're never interesting. There's got to be an internal struggle, the duality is important to find.
I think I learned discipline on 'Jane Eyre.' Charlotte Bronte's dialogue, the intellectual duel between Rochester and Jane Eyre's character, is so compelling that you didn't have to do much with the placement of cameras.
My agent wanted me to audition for Dumbledore's character after Richard Harris died. I was asked if I would like to audition for it. But I wouldn't audition for it.
Directors would tell me, 'We want you to play a character a little less complex than you are.' Yeah, sure. What they mean is, 'You're playing a dummy.'
Up until college age I was using the typical little-boy dummy that sits on the knee and makes woodpecker jokes. My first original character didn't happen until later, and that was Jose the Jalapeno on a Stick.
I think the first things I did, I used to try to create digital versions of Dungeons & Dragons that would help me generate a character, that would roll the dice for me.
I want people to think about movies and how we watch them. Let them know it's okay to question the structure or how we're sometimes duped into a false sense of normalcy. Most of all, I want people to question the old standard practices of, 'This is how the structure of something should work,' or, 'This is how a character must behave.'
What drew me to the character is that Roberto Duran is the son of an American soldier - a Marine - stationed in Panama and a humble Panamanian mother, and he was abandoned.
My nursery school did a production of 'The Three Little Pigs.' I played the third pig. When the wolf knocked on my door, I refused to get up and answer it because, to me, he was knocking the wrong way. I just lay there, snoring away on stage, fully immersed in my character. My dad turned to my mom and said: 'Dustin Hoffman.'
Leadership to me means duty, honor, country. It means character, and it means listening from time to time.
