I think the other side of that is embracing the claustrophobia, and that's what a huge piece of this show is, just watching people go through having to be stuck in that. I think the audience is going to feel some of that. It might not be comfortable, but it's really cool to just be experiencing that along with the characters that you're watching.
But, it takes some of the characters to some very dark places, and they start doing things that they might not do, if they were in regular circumstances. Their true humanity comes out - the good and the bad. Something else that was fun was that every director would come in so excited to go with their own creativity.
When I connect to my soul, project it into another #"Ž character , and then bring it to the stage or to a film-that has always been for me the great joy of #"Ž acting . It's been as if my soul kind of leaps out of my body and is able to be free and dance around.
I have too much respect for the characters I play to make them anything but as real as they can possibly be. I have a great deal of respect for all of them, otherwise I wouldn't do them. And I don't want to screw them by not portraying them honestly.
I think in this movie, every time I see his work, I'm blown away by it because he, to me, he really embodied the character so powerfully and so real, so truthfully to me.
While it is challenging working with a kid, because they're so of the moment all the time. My acting style is to try to take something from my life that the character can relate to and that I can relate the character to.
The characters are so flat and the dialogue so dull you expect it to be one of those movies whose existence is justified by a big final twist. But it's three days after the screening, and still no twist. Maybe it's coming in the mail?
Actors have an unusual perspective on clothing. You've really got to know the impact of what you're wearing on the character you're playing
One of the things that I learned in television, and one of the beauties of television, is that, if you have a strong writing staff, they rely on you just as much as you rely on them. They look to me or the other actors to help inspire them to take the character in interesting directions.
I questioned everything. I didn't see a character developed in Platoon at all. The character in Blue Velvet was much more fascinating to me
Doing a film, or being sent scripts to look at a certain character, it's very odd for me. I tend to take it very personally.
One way I differ from my character, Coach Taylor, is that I never would have taken this faraway job without my wife's consent.
Although I love all genres, I really love to play in two main arenas: Comedy and Thriller/Horror. In either genre I love playing flawed, layered characters that are actively fighting to achieve something in the story.
I love losing myself in the extremes of a range of characters.
It's fun to be the subservient character who is too dumb to know when to stop trying to win against the awesome superhero.
In ten years, or certainly before then, I'd like to not only be continuously busy as an actor playing tormented, playful characters in film and television but also have gotten a few of my own films made.
I think everyone should read The Girl on The Train, especially if they loved Gone Girl. It's about Rachel, a girl who sees a couple on her commute. Then one day she sees one of the people from the couple kiss another person. The next day they go missing. The story is told by 3 different perspectives, all characters you absolutely can't trust. It's an insane psychological thriller that's seriously addicting and the kind of book you can't put down.
Character issues such as drug abuse are not exclusive to Detroit Public Schools. My reference to substance abuse, not intended to focus on any particular school district, was simply used to illustrate this position.
Sometimes your gift takes you to a place that your character is not prepared to handle.
Being behind the camera you have control; you have the ability to make decisions for characters, for where the story line's going to go, how you want to put it out there, how you want to edit it. Acting is like where you paint on the canvas, and being behind the camera is like being either the paint or the paintbrush. They're both a part of the creative process, it's just that they have two different functions.
Nothing is more difficult and nothing requires more character than to find oneself in open opposition to ones time (and those one loves) and to say loudly: No!
I'm drawn to the classic antihero, the guy who's probably made a bunch of mistakes and really has the capacity to go either way. That's the most interesting type of character for me to watch, to see what decisions they'll make. There's a lot of gray area there for a writer to explore.
As an actor, I've been drawn to those characters that are further away from who I may be.
I think there's a part of me that feels the need to hide a little bit behind a character.
The whole Twitter phenomenon is really indicative of what's happening in this country. And I say this in condemnation of myself as much as anyone else - we are growing into a nation that has no time, desire or capacity for truth. All we can handle is 140 characters of knowledge.
You have to change your mind with every orchestra because every orchestra has a different character.
I wouldn't say I've changed my mind. I changed some of my natural habits, some of my natural character.
Expeditions can greatly contribute towards building strength of character. Joseph Conrad in Lord Jim tells us that it is necessary for a youth to experience events which 'reveal the inner worth of the man; the edge of his temper; the fibre of his stuff; the quality of his resistance; the secret truth of his pretences, not only to himself but others.
Playing Destroyo, who was sort of a Silence Of The Lambs type character, I'd say I was wearing about 50 pounds of rubber and foam rubber and makeup. But I had no idea who The Tick was. I'm not a big graphic-novel guy. I don't even know if The Tick was a graphic novel!
I did what a lot of character actors do: I did it to get girls.
The characters are, by their nature, archetypes that can serve different metaphors.
If there's ever a character who can only serve one metaphor, I'll probably tell one story with that character and be done with it.
The metaphor is the story, not the character.
At one point, I worked up a list of five requirements for a superhero: superpowers, a costume, a code name, a mission, and a milieu. If the character had three out of the five, they were a superhero. But that's just my definition.
Youve got to leave the reader with more than just a name and a costume - they need to know who the character is, what theyre like, what kind of attitude they have, what sort of role they play.
What really matters is not how well a character fits a definition, but how strongly he or she resonates. Characters with strong, resonant ideas at their core will have more of an impact on the cultural consciousness than a character who's just an empty collection of attributes.
I think the Hulk has always appealed very strongly to much younger readers than Spider-Man, because Spider-Man is an adolescent character, and the Hulk is a very childlike character.
I'm not building each one character around one metaphor, so much as trying to build a heroic archetype that can be used to express the kind of metaphors that I find in each story.
I love Vince McMahon. He came up with the character. He ran with it, and then I was able to run with it. I thank him for the opportunity he gave me. Vince McMahon was one of my best friends, period.
I really think if you take away a character's obstacles then there's no comedy.