Quotes About Character

If I have an audition, I go to the audition in character. I'm in character when I walk in the room. I mean, I'm still sweet to everyone, but I'm very much the character.

I started out doing things like 'Flash Forward,' where I was the girl-next-door, and then, I did a show called 'Higher Ground,' where I played this really mean, sarcastic girl. Then 'Firefly' happened, and everybody thought of me as this bubbly, sweet girl-next-door again.

I've played quite a large spectrum of teenaged girls, from psychotic to very sweet to a polygamist.

Having a sweet, wide-eyed, awkward character is more charming and allows for more range. If you come from anger, you're going to reach a ceiling very quickly.

I'm a sucker for the big, gruff, distant, emotionally closed-off hero who sloooowly warms up to the feisty, awesome, sweet heroine.

It's not all 'Jane Eyre' out there. In her sweet, honorable, slightly passive-aggressive way, Jane was as perfect as a protagonist can get while remaining interesting; in fact, she's one of my favorites. But most characters are more morally ambiguous.

I've always been attracted to girls whose hearts are the biggest thing about them. People can be very sweet and kind to others who can do a lot for them. I want to find a girl who will be the same person to those who can't do anything for her in return.

I know where TNT's sweet spot is, and when I read 'Perception,' I thought, 'This is a chance to play a fascinating, fun, challenging character but still within the realm of something that will sit very well with 'The Closer' and 'Major Crimes' and the other shows there.'

None of my on-screen roles have been outright negative. They have all been grey, and that is how it is in reality, too. None of us are nice and sweet 24/7.

We always try to go back to character: What do they want? What are they doing? What's in motion that they're dealing with? When things get particularly heavy, we will take a step back and look at who has some room to have some things lighter, funnier, or sweeter happen.

Cancer Boy probably has the saddest, noblest, sweetest heart of any character I've ever done.

Ron was always my favorite character, because I feel like I relate to him, like we've both got red hair, we both like sweets, we've both got lots of brothers and sisters.

When I give a man an office, I watch him carefully to see whether he is swelling or growing.

And all the good you've done will soon be swept away, You've begun to matter more than the things you say.

Richard Nixon was a criminally insane Monster - Bill Clinton is a black-hearted Swine of a friend.

I was a solid C student because I was doing so many plays. I was a drama nerd, but I was also kind of a Zelig-like character; I would shift between different groups of people. But the people I spent most of my time with were either chorus or swing choir or the drama nerds.

I take the work seriously. Which is why I always swing for the fences whenever I voice a character. But that said, I don't take myself all that seriously.

There's always a concern as an actor that you'll be boring unless your character is swinging from a chandelier.

I very much admired Lancaster. George Clooney reminds me of him today. Not all the macho, swinging around that Burt used to do, but the courage. You know where you stand with men like that.

I have believed the best of every man. And find that to believe is enough to make a bad man show him at his best, or even a good man swings his lantern higher.

When a director narrates a character, I find it normal to ask questions about the character's background, mood swings, eccentricities, behaviour... I do this to make my performance relatable. Directors who don't know their characters well find it difficult to answer these questions and, hence, find me annoying.

You have to be completely in the character, and that's so hard to do. That's why, when they call, 'Cut!,' you often feel yourself shift. Unless you're Daniel Day Lewis, who stays in character all the time, there's a switch that happens.

There's a lot of actors that I admire because they can just switch one second into the character. Then, they go back to jokes, and then they're doing something really dramatic. I can't do that. I have to really focus.

I know there are some actors who won't switch their accents off when they're on set and like to be called by their character's names. That works for them, and that's great.