Quotes About Character

In 'Pacific Rim' I had to have a haircut I wouldn't usually rock. However, the moustache I had in the film - that might have to come out again. It was a good moustache. Good times.

I used to live above Manganaro's, when old Times Square was still peaking, and it still had a lot of diners and theaters on the forty deuce, as they used to call it. It was full of character. And it wasn't Disneyland. Now it's so touristy and full of bright lights, I can't stand it. It's like going to a big mall.

I'm waiting for the Times Square characters to start dressing as me.

I'm a girly girl. I'm strong, but I'm very timid. Very dainty.

I do like a healthy dose of adrenalin, but my character is more rounded. I am not timid; I like excitement.

Women pay attention to how men drive because it's a good indicator of what kind of character you have. They want someone who's going to be intelligent and cautious and assertive and confident when you need to be, but not overly aggressive and reckless, and also not timid and overly paranoid.

You know, I don't talk about the characters that I play. Years ago, I was a little timid about it and I kind of squirmed when I was asked, 'Could you tell us something about your character.' Now with a little self-confidence that comes with the grey beard, I just flatly refuse.

Playing King George, for me, was a lesson in stillness and timing.

Bernard Manning is controversial but he had incredible timing. I wrote the character of Brian Potter in 'Phoenix Nights' for him to play but unfortunately he was too poorly to do it. I thought it would have been perfect casting but it didn't happen.

That has been everybody's challenge, above the dancing, the singing, the lines: getting into who these characters would be in 2015. Today's Tin Man is heartfelt, but he wouldn't be soft. Today's Dorothy would be sassy.

In 'Cat on a Hot Tin Roof,' I couldn't take my eyes off Judith Anderson as Big Mama.

I remember when I was writing 'The Tin Drum,' I had the totally misguided idea of giving Oskar Matzerath a sister, and he just wouldn't have it. There was no space for a sister, yet I had the character of the sister in my head. In fact I used her in later novels, in 'Cat and Mouse' and 'Dog Years,' Tulla Pokriski.

I've always been a huge fan of Tina Fey's. She's a very unique storyteller and has such a great voice and sense of character and comedy, and manages to do things that are oftentimes very broad but still have a lot of heart to them.

The creation of George Smiley, the retired spy recalled to hunt for just such a high-ranking mole in 'Tinker, Tailor,' was extremely personal. I borrowed elements of people I admired and invested them in this mythical character. I'm such a fluent, specious person now, but I was an extremely awkward fellow in those days.

I was very resistant to my intellectualism for a while. I do start with an intellectual idea for a character. A lot of the times, it'll be the opposite of what I feel like is on the page, or it'll be just an idea that I read in a psychology textbook or in a philosophy book. I'll apply something to it that I can start to tinker with.

J.K. Rowling said Bellatrix's role was going to be significant in the last one, when I showed some reluctance in playing a tiny bit part. Up front, they said, 'You're very significant in the last one.' But significant could mean a lot of things. That could just mean a significant plot point. Doesn't necessarily equal big part.

The Lord is pleased with every effort, even the tiny, daily ones in which we strive to be more like Him.

Bigger stories are made out of longer acquaintance with fact and character, but I also love the tiny stories in which almost everything has to be inferred and imagined.

Every generation gets the Tiny Tim it deserves.

I am a tiny lady with curves... that's who I am.

I think it's necessary to identify with anything - with any character you play, there's got to be something in common, so you can link up to that person, even if it's like one tiny thing. But it's equally fun to play somebody completely different, and trying to find what that thing is to make it.

I look at improvising as a prolonged game of chess. There's an opening gambit with your pawn in a complex game I have with one character, and lots of side games with other characters, and another game with myself - and in each game you make all these tiny, tiny moves that get you to the endgame.

It's a good tip for writers, that - write with an actor in mind. Even if you have no hope of getting John Cleese, it's much better to write it with him in mind because you might find someone else to do that stuff; it really helps.

Amelie' was a very precise, a very composed performance - ultra-defined, down to the tips of her fingernails, the ends of her hair.