A Quote by Beanie Feldstein

There's something so beautiful in playing a character that supports another character's success. — © Beanie Feldstein
There's something so beautiful in playing a character that supports another character's success.
Taking on an iconic character is difficult, sure, people associate different actors with a character that you're playing, but there's something in rehearsing and developing a new character.
I think it always helps when you build a character, and then, you actually step into that character's wardrobe, something else happens. Another angle of the character comes to life.
Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.
I'm a big fan of character actors like Johnny Depp and Gary Oldman. My goal is to continue playing character roles in indie films and move into playing character leads.
I think every time you take a female character, a black character, a Hispanic character, a gay character, and make that the point of the character, you are minimalizing the character.
I think, for every actor, the most challenging part of playing a character, specially a real-life character, is to convince yourself that you are the character.
What I do is give Ennio Morricone suggestions and describe to him my characters, and then, quite often, he'll possibly write five themes for one character. And five themes for another. And then I'll take one piece of one of them and put it with a piece of another one for that character or take another theme from another character and move it into this character.... And when I have my characters finally dressed, then he composes.
When you're the guy inside of a character and you've lived with it for almost two years, you're always a bit defensive about the character, and you want to root for the character you're playing.
Playing what Hollywood determines is a hero, it immediately sets actors up to feel like they just can't explore the dark parts of themselves - the character has to be likeable, has to be fuckable, has to be redemptive on all fronts. When you're playing a character that's just inherently destructive or messed up, you're given this beautiful permission to try things. There's a license to fail.
I am playing the character of Sanjana in 'Race 3' and it is very a dark character in the initial phase of the film but towards the end, it gets transformed into a positive character.
When you are writing, you have to love all your characters. If you're writing something from a minor character's point of view, you really need to stop and say the purpose of this character isn't to be somebody's sidekick or to come in and put the horse in the stable. The purpose of this character is you're getting a little window into that character's life and that character's day. You have to write them as if they're not a minor character, because they do have their own things going on.
What is the character trying to say? Why? Be as specific as you can, using sense images that evoke something about the character. Try using the character's senses, even if the character is you.
Every character gives you something or the other, and you can't calculate it unless you are living the character. You learn something about the character that stays with you.
In a given scene I may know nothing more than how it's supposed to end, most of the time not even that. Scenes are improvised. A character does or says something, and with as much spontaneity and schizophrenia as I can muster, another character responds. In this way, everything I write is spontaneous chain reaction and I'm running around playing leapfrog in my brain trying to "be" all my people.
I just didn't want to get bored playing a character, and that's kind of the benefit of doing films; you've lived with a character for four or five months and that's it, and you walk away from that character and you feel like you told a story.
Whatever character you play, whatever film it is, whatever story it is, for me, in my training it's always something that gives you a layered character, it's understanding the secret of that character, and so whatever comes up as "Oh, I thought that person was that," you are always carrying that within you. So actually what you're playing all the way through is both and it's just what comes out in the scene or the circumstance.
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