The best novels are those that are important without being like medicine; they have something to say, are expansive and intelligent but never forget to be entertaining and to have character and emotion at their centre.
You always want to put your character through different experiences and see how it shapes their worldview.
We fought against British not because of the color of their skin but also because of the exploitative character of their government.
I was in two episodes playing Christopher Reeve's character's emissary. They wanted to have my character announce Dr Swan's death, which I thought was exploitative.
The Ultimate Warrior was explosive, confident, heroic, and ready to get into battle. He was a character who had his own set of rules.
Whatever character you play, it gives you the chance to expose another side of yourself that maybe you've never felt comfortable with, or never knew about.
I admire writers such as Elmore Leonard who can nail a character in three or four lines of dialogue, so he doesn't need pages of back story or clumsy exposition.
I use voiceover just like I use dialogue. There's a way to give out information or give out insight to the character or give out their worldview, and maybe you have to slip in exposition, but it's all about how you write it.
Exposition has legitimate uses. It's the most efficient way to summarize background information, including necessary information about a character's history. It can set the stage well for a major dramatized event.
The thing that I like about action sequences is that if they're done well, you get to know more about the character in those few minutes than you do through 10 minutes of exposition.
Character is expressed through our behavior patterns, or natural responses to things.
The fundamental character of our faith means an extensive diversity is required not only within local community, but between communities.
Underneath this flabby exterior is an enormous lack of character.
Trickle-down racism, trickle-down bigotry, trickle-down misogyny, all these things are extraordinarily dangerous to the heart and character of America.
When I'm playing a character like Jonathan in Ripley's Game I want to be in the moment when he's feeling pain; this very ordinary person who finds himself in extraordinary circumstances.
Our decade of change has unleashed the ingenuity, creativity, and character of the most extraordinary people in the world - the people of this state, who come from every corner of the globe.
In the extremity of war, character is revealed.
Working on 'Nightmare Before Christmas,' I had endless arguments, like the studio saying, 'You can't have a main character that's got no eyeballs!' 'How is anybody going to feel for somebody with just eyesockets?' You know? So, it's those kind of things that really wear you down.
I feel when acting, I am sometimes overly self-conscious; I think, 'Going, no, don't, put your eyebrow back where it was and, you know, turn to the left.' You know, I'm sort of very consciously adopting this character. But with music, I don't know. I found it was a question of just closing my eyes and just sort of letting things come out.
Carlos was a character, a character fabricated by Ilich Ramirez Sanchez, fabricated by the secret services of the epoch, fabricated by the governments of the epoch, by the radical groups of the epoch, by the communications media.
