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I've worked all my life to shed myself of any character.
I think I would have been so much in awe of the movie set, the people and what everybody's job was, that I don't know if I would be able to concentrate on the character.
The predominant difference between television and film is the pace to which you work, but the development of the character or the process for playing the character isn't necessarily different.
I was playing this horrible part. I didn't didn't want to play it because the character was an awful racist. But I'm glad I did it because I met Sidney Poitier.
Real freedom comes from the mastery, through knowledge, of historic conditions and race character, which makes possible a free and intelligent use of experience for the purpose of progress.
I find myself maybe just pushing myself to create characters that are a little outside the box, and if that sort of gets the critics talking, then I can take it.
Hollywood didn't know if I was an actor or a nut or if I was this crazy character I was playing. I had developed an image of being a little bit unusual, different and wild.
The thing that I like about the way characters are written on the show these days is that nobody's perfect. Everyone has made a lot of mistakes and bad choices.
Habits are formed, not at one stroke, but gradually and insensibly; so that, unless vigilant care be employed, a great change may come over the character without our being conscious of any.
Visual forms are not perceived differently from colors or brightness. They are sense qualities, and the visual character of geometry consists in these sense qualities.
I gradually work myself into a frenzy as the shoot approaches, while we're choosing the costumes or working with the make-up artist. I'm not so much interested in my character as the film itself.
Harrison Ford - one of my favorite actors - has a wonderful sense of character and depth and uniqueness to him, yet he's able to just deliver the lines without putting any English on it.
Make your faces so that they do not all have the same expression, as one sees with most painters, but give them different expression, according to age, complexion, and good or bad character.
I have, in some ways, saved characters that have been marginalized by society by playing them - and having them still have dignity and still survive, still get through it.
A lot of my characters in all of my books have a self-destructive urge. They'll do precisely the thing that they know is wrong, take a perverse delight in doing the wrong thing.
I enjoy the character interplay. Sometimes the audience is not laughing, but smiling, and that is almost just as good because it keeps them ready to laugh.
I think my character's getting to the point where he can't even eat spaghetti with red sauce anymore, where he has horrible nightmares, he can't sleep anymore.
Never believe extraordinary characters which you hear of people. Depend upon it, they are exaggerated. You do not see one man shoot a great deal higher than another.
An interesting play cannot in the nature of things mean anything but a play in which problems of conduct and character of personalimportance to the audience are raised and suggestively discussed.