I don't like nihilistic characters. As bad guys they're great, but as heroes they don't work.
if an author would have us feel a strong degree of compassion, his characters must not be too perfect.
As if they were our own handiwork we place a high value on our characters.
I feel that the thing about film and particularly about TV, actually, is it's being created now. We're living in the best time so far because there are many more women writing and women directing, women producing, and people are finally catching on to the fact that women want to go and buy tickets to see female characters and more than one in a film. So I actually think it's a very fertile time to be a woman over 40.
Benevolence is one of the distinguishing characters of man.
I've been inspired by dreams - I've even stolen scenes or images or characters from them.
My films do have characters who have trouble escaping the world around them.
I feel very blessed to have had the opportunities that have already come. I want to pursue it as long as I can find characters that resonate with me and projects that resonate with me. I feel very comfortable in that world.
I love playing these characters that are crazy tough, though. Because I am not in real life. Not at all.
I think main storylines are what always intrigued me, with those that were the relationships between the characters against whatever backdrop, whether it was in an ordinary universe or a universe in the future.
I believe locations should try to be and evoke the characters in a movie.
My job is to focus on bringing characters to life in an honest and personal way.
For me, there is a stigma attached to playing beautiful parts. They are often empty characters whom the action happens around. I'm more drawn to characters with a complex internal life, who have a burning frustration underneath that keeps them going.
No 'mise en scène' has the right to be repeated, just as no two personalities are ever the same. As soon as a 'mise en scène' turns into a sign, a cliché, a concept however original it may be, then the whole thing - characters, situation, psychology - become schematic and false.
Once, during an interview in front of my wife, I was asked, "Are you one of those actors who brings your character home? Do you stay in character?" I said, "No, not really. I don't do that," and she started laughing. I asked her why. She said, "Well, you might think you don't bring characters home, but you do. " So, while I don't feel like a character is lingering, it probably is.
I write characters and stories that move me, and I write from the heart.
Saturday Night Live is a show that I think I could have a lot of fun on, just being different characters and maybe singing, too.
When I got to the end of this play, I realized I was trying to make Angel do something that had not been justified by the characters and by their story. . . . I kept trying to force it, but that doesn't work. So I had to come to terms with what it meant for me to create a character who doesn't triumph.
I like playing really super-intense, live-in-the-moment characters. It asks me to not phone it in. It's impossible to phone it in. Every American boy has spent his childhood pretending to get shot.
It is always sad to write about prejudice, but sometimes when we see it being played out in the lives of fictional characters, we can recognize it in our own lives.