Quotes About Character

I think from an actor's point of view, you always want something to play that's dramatic or something that feels like it could be very bold in choice. And of course, the boldest possible choice you could play at the end of a character's life is death.

I'm a very girlie girl, but I often find the heroes of my books trying to take over the story. In truth, I enjoy writing the male point of view more than any other.

Everything's always got to be character-based. We know we can't, if we're sitting in the editing room, watch the sequence for more than 20 seconds without a character having a point of view or moving the action forward; my brain just shuts down, or I start thinking about my laundry.

As an actor, you can have your opinions, but our responsibility is telling the point of view of this one character.

As a friend once pointed out, the crotchety dowagers do tend to get all the best lines. That may be why I have so many of them in my books.

In a short story, you can use someone - we're only going to be with that person for maybe 10 pages, and they can have sort of a one note personality. And in a novel, you need to have arrows pointing more than one direction for that person.

I use colors to bring fine points of story and character.

I want to look at this character from all points of view. I know I don't want to make them all good or all bad or all anything... the story itself often helps create the character.

I care about Bond and what happens to him. You cannot be connected with a character for this long and not have an interest. All the Bond films had their good points.

You always take a little bit back with you at the end of the day. I always put a little bit of myself into the characters, too. You find parallels, points of connection, things like that. But I'm not an actor who gets so incredibly haunted by my characters that I can't come back.

I'd never really been in a series, where you see a man at different points and perspectives in his life. Usually it's a film, where I'm playing a character who just comes in and offers something up.

That's management. It's a social job as much as anything else, finding out what people are like, seeing through them. There have been good players and not-so-good players who I have moved along because I thought there would be a clash of character.

Poirot is a classic character from fiction, not a MacBook Air; he would not benefit from updates.

I'm known clean around the Earth.

I find strong roles really interesting. Usually, that means the character is also clever.

For me, beauty really does come from within, and that may sound cliche, but it's true.

Without sounding too cliche, my part on 'Getting On' is the best role I've ever had. It is so rich, it is so well rounded, and I am happy to be right here. I feel like I lucked out and got one of the richest characters on TV because he is so complex.

So often in TV, when you have an antagonist who's supposed to be the 'big baddie,' it's so easy for them to become cliched.

You can love a play and character and can be the right person to tell that story. But if you don't click with the other people in the play, it won't work.

Each director is different. Clint Eastwood and Chris Nolan are completely different, and I need to adjust to the story and character and the director and just my duty as an actor.

Clint Eastwood, to me, is Clint Eastwood. He's great at being Clint Eastwood. But, I don't know how to be that guy. I just don't know how to be one person.

All of these attacks on Secretary Clinton, at the end of the day, are character attacks.

I'm not dripping with charisma like many of my friends are. But I do have candour, which is close.

On 'The Avengers,' I've been working closely with Mark Ruffalo.