Quotes About Character

I always prefer to write songs about emotional situations and heartbreak because I like getting into the character.

I tend to play more true-to-life characters in real situations.

I'm a bug on acting, which distinguishes Second City from a lot of other revues. It comes from the character, the behavior, and not from the jokes. I don't think jokes are funny. Humor comes out of character and out of situations the character is in.

I've tried to keep myself out of bad situations, and if that means I'm a Goody Two-shoes, so be it.

When I'm working in television, I've learned you've got to work fast. You don't have time to rehearse; you don't have time to just mess around. You've got to move quickly. So I pick that up from that world, and I also pick up the idea of development of character and development of situations.

If I had killed Crow off I can think of least six novels I would never have written, 400,000 words' worth of very necessary experience.

Size doesn't mean anything - not all the time.

What I truly get excited about is not the genre of a movie or the size of a part - it's character. I like to find characters.

It is important that we take full advantage of the RSC's size, character and the passion of its members to advance our conservative agenda in order to restore America to the 'shining city on a hill' that Ronald Reagan envisioned.

I like character-driven stuff. It doesn't matter, the size of the part.

I never look at the size of the film when I'm looking for a part.

When I look at a character, I never look at the size of the role. I always look at the whole person, no matter how much they're featured in the movie.

My central strength as an actor is the fact that I'm 6 foot 3. A certain power emanates from my size, juxtaposed with the fact that I try to find an element of sensitivity in every character I play. People enjoy seeing that because it goes against what we're led to expect as far as the way men are supposed to be - macho and all that.

I believe that as a writer and a director, you're only providing the skeleton of a character, and you're hiring actors to fill it out.

When I'm writing, I'm creating the story and its character with words. I'm thinking about what the pictures will be like, but I never begin to sketch. The pictures are all in my head.

If I don't have a project going, I sit down and begin to write something - a character sketch, a monologue, a description of some sight, or even just a list of ideas.

If you don't like the people, you're just doing a sketch. Which, in most cases, is comedy minus some emotional backbone.

Usually I start with a concept, which I then sketch out so that I can get a feel for the character. The character doesn't really become real to me until I draw them.

I feel passionately that we need more space on TV for sketch shows for character actors to experiment.

Life experiences help in understanding the character. And many things come to your mind regarding the character sketch when you read the script as many times as possible.

I think what is nice about 'Elf,' and why it doesn't play as one long sketch, is that the character actually grows up during the course of the film. It's not just a character that you can keep checking in on and keep doing sketches about. It's a story. I'm pretty proud of how we told it.

I think the Mama people remember is from 'Mama's Family.' She really turned into a pretty cool character. The sketches from the 'Burnett' show, if people are old enough to remember, were written by writers who all hated their mothers.

I get less and less sketching done at shows, as more and more people want to come up and talk or get stuff signed. Most requested character? Probably Catwoman.

I like French films, Chabrol in particular. With him, you often get a skewed morality in which you sympathise with the person you shouldn't.