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Compelling characters are not cogs in the machine of your plot; they are human beings to whom the story happens.
There is no road to success but through a clear strong purpose. Nothing can take its place. A purpose underlies character, culture, position, attainment of every part.
When becoming a character, you have to steal. Steal whatever you see. You can even steal from other actors' characterizations; but if you do, only steal from the best.
To a commonplace man of limited intellect, for instance, nothing is simpler than to imagine himself an original character, and to revel in that belief without the slightest misgiving.
In terms of writing characters or stories, at least initially, there's no difference between live-action and animation. A good story is a good story, whatever the medium.
When I did 'The Social Network,' David Fincher told me that I managed to make a thankless character pretty awesome. I thought that was really cool because I think he's really cool.
I've made no secret of the fact that I often wear wigs and have in fact launched my own Dynasty range, named after various characters. I find this saves a ton of time - as well as my own hair.
There's a fashion, or maybe you could call it a necessity, in French cinema to make social films, which is to say films in which the characters are defined by their social context.
A man's penmanship is an unfailing index of his character, moral and mental, and a criterion by which to judge his peculiarities of taste and sentiments.
I just look for characters that have dimensions. If I don't see it written on the page, then I try to put it in there somehow. You don't want to play the same role twice.
Comics as art. I do comics as comics, and my opportunity to tell stories. Simple. Basic. Let the characters have the excitement, not the package. That's where I come from.
The difference between a moral man and a man of honor is that the latter regrets a discreditable act, even when it has worked and he has not been caught.