Quotes About Character

Some of us are better at owning the responsibility of our actions than others.

In our society a man is known by the company he owns.

I truly believe there's all the Deadpools that have existed, and there's Ryan Reynolds' Deadpool, who is now the Deadpool for the world. He owns that voice.

Because of the pace of daytime, you don't necessarily have time to work every detail of your character, so you have to bring a lot of it yourself.

I'm doing 'Alvin and the Chipmunks.' I get to play the bad guy. That's a nice change of pace.

On television one gets to do things in detail and at an easier pace. You can experiment a lot with the character, give it lot more time, and let it grow.

I thought it would be a fun change of pace to do a show about a really sad, depressed character.

I'm just trying to play against ethnicity. I got to play a guy from Louisiana in 'The Pacific' named Merriell Shelton, and now I'm playing Elliot Alderman.

'Romeo and Juliet,' 'Manon,' 'Giselle' - they are not stupid stories. They have fantastic characters. They have a big package of emotion.

There's no act. That's the whole Charles Barkley package. That's why people like him.

I'm not a critic. I'm an actor. I see the role I get given on the page. I try to bring it to life as best as I can.

This basic thing I always do: 'What happened between the character's birth, and page one of the script?' Anything that's not in the story, I'll fill in the blanks.

I think writers have become hypnotised by the number of jokes on the page at the expense of character.

I think if an actor is right for a role, casting sees that, and the words that are on the page, depending on how it's written, can really help your character develop.

Whether it is television or film, the character on the page has to speak to me.

To me, the struggle is to try to make a less-well-written or less-well-rounded character and find who they are. If you really get it, and it's all on the page, then it's really just gonna pop out at you.

You have to look for story. That's obvious. If that's not on the page, you can forget it. But I also read whatever character I'm being offered. And if you can cut them out without it affecting the story, then I say no straight away.

My whole thing is, I've got to be as good, as courageous as what's written on the page.

I must be very clear in one thing... Being a pageant girl is not who I am or what defines me.

People think pageant girls are snotty, cutthroat, self-absorbed. Everybody that I meet in the industry is so kind, giving, and they are some of the most amazing women.

After 30 years in the theater, I'm used to having a great amount of control over what I do. But with '24', you place your character's life in the writers' hands, and you have no idea what's going to happen until you're sent the next pages.

I had a great experience working with Dynamite on Masks, and had just gotten started on a stint on The Shadow with them when they floated the idea of a Captain Action series. I've been a little obsessed with the character since I was first introduced to him in the pages of Amazing Heroes back in the early 1980s.

Mini-series are my favorite medium to act in because it's the right amount of pages you shoot a day, it's the right amount of time that you're with a character, and they really advertise it a lot so that people get excited for this epic event.

There are nineteen Harry Bosch books, and someone told me if you add up the descriptions of Harry from all of them, it would come to less than three pages. He's very elliptically described over the two decades during which the novels occur. I did that by intention.