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God does not want you to become a God; he wants you to become godly - taking on his values, attitudes, and character.
It’s a very difficult era in which to be a person, just a real, actual person, instead of a collection of personality traits selected from an endless Automat of characters.
My character Jack in the New York Spring Spectacular is a lot of fun. He's playful, he's full of life. He can make things come to life. He can make things happen.
Russian directors, we are shooting the same streets. The same things. Tom Jacobson has a fresh eye and found very interesting and very cool locations and angles and characters.
My worst character flaw that I'm conscious of is that I tend to think my way into circles instead of resolving anything. It's paralyzing and boring for people around me.
I went through about 40 different hats until we found one that fit. It had to fit me and fit the character, more importantly, and whatever that thing was that we were trying to create with him.
I don't see any difference in the craft of acting, in film or television. It's absolutely the same. It's different storytelling, playing a character over multiple hours, as opposed to two.
If you're playing the character, you could say to yourself in 16 different ways, 'What if that didn't bother me?' 'What if I knew exactly what he was talking about?' 'What if I didn't get excited?'
On the stage it is always now; the personages are standing on that razor-edge, between the past and the future, which is the essential character of conscious being.
From the outset, however, this whole controversy has been plagued by tacit assumptions, very often of a philosophical rather than a physical character.
If you can write a character who is attractive but morally reprehensible, then you've got a character. It's got to feel like people I know and it doesn't just become a bag of tricks.
In fiction, plenty do the job of conveying information, rousing suspense, painting characters, enabling them to speak. But only certain sentences breathe and shift about, like live matter in soil.
It's masturbation for writers to be able to write this absolutely outrageous personality, in a character that you somehow agree with, part of the time, at least.
Mostly, I'm drawn to great characters and great worlds that use weird things for their language - whether it's dance, whether it's pop music with Justin Bieber, or whether it's magic.
Nobody ever recognizes themselves unless they are not the character. There are many people who have claimed to be in my books, but unfortunately they were usually people that I didn't know.
I think I think in the moment. So when I'm in character, I'm in character, and I'm obviously thinking about what's going on around me, but it's easier to do stuff when you're in character.
When I'm trying to imagine something, I have a few elements, a few ideas, maybe a certain actor or actress I want to create a certain type of character for, or maybe a certain place.
It's fun being one of the boys. It's fun to play a character that's rough and gets down and dirty and not to be this precious girl who just sits in the corner and just sort of stands by the action.
I work really out of mythology, so often I work out of a story that has remained lodged inside somehow, or I work out of history, you know, out of a sense of historical inevitability with characters.
Sometimes making a story is as easy as putting two characters in a room and seeing what happens. So, imagine a great white shark and a giant squid in the same bathroom.
It can be annoying not to know who you are, where you came from, or what you're doing. To try to create a character without a whole lot of information can be taxing.
I have this theory that the likeability question comes up so much more with female characters created by female authors than it does with male characters and male authors
With animation because you can draw anything and do anything and have the characters do whatever you want the tendency is to be very loose with the boundaries and the rules.