A Quote by Alex Borstein
I love the freedom of voice-over and the ability to play multiple characters I could never play in real life: a hot young woman, a little boy.
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I love when I get to play these characters that are bigger than life. There are roles in animation that I never get to do in real life - and it appeals to my ego as an actor to play the Queen of Everything. I admit it.
I have a lot of real life experience that I can draw on. And I think that shows in the characters that I play because I'm always trying to find somebody - or find characters to play that I can identify with on a personal level or relate to. And I think it makes for a little bit more of an honest portrayal.
I do play all the characters, when I write them, one after another. If they actually had to film me, the only one I could play would be Samwell Tarly or Hot Pie.
I remember being a young boy in Poland, watching David Seaman, Thierry Henry, Dennis Berkamp and others play for Arsenal. Never in my wildest dreams did I think I would get a chance to play for the club I supported as a little kid.
I tend to play strong characters and people just assume that I would want to play romantic comedies, which I would love to do, but there are other women that do it so great and they maybe couldn't do what I do, play the kind of characters that I play.
I love weird man, when you get to do something that you don't necessarily get to do in real life, play characters that are a little bit outlandish.
Game Over is a very frustrating game convention. In short, it means, 'If you were not good enough or did not play the game the way the designer intended you to play, you should play again until you do it right.' What kind of story could a writer tell where the characters could play the same scene ten times until the outcome is right?
That straight man character is a short trip between comedy and drama in a project, so I can play the comedic beat on the same page as a dramatic beat. It gives me a lot of freedom as an actor to play scenes in multiple ways because I don't play the clown, nor do I play someone who is particularly maudlin.
I think the idea, first and foremost, is to understand that people may label these characters as villains, but at the end of the day I have to fall in love with the characters that I play. For me, they have to be real characters with real objectives, and driving forces. So they're all different.
I was a welfare worker for the Indian Council for Child Welfare. I'll tell you a story. Rajiv was only four years old at that time, and was going to kindergarten. One day the mother of one of his little friends came to see us and said in a sugary voice, 'Oh, it must be so sad for you to have no time to spend with your little boy!' Rajiv roared like a lion: 'My mother spends more time with me than you spend with your little boy, see! Your little boy says you always leave him alone so you can play bridge!' I detest women who do nothing and they play bridge.
The Little Mute Boy The little boy was looking for his voice. (The king of the crickets had it.) In a drop of water the little boy was looking for his voice. I do not want it for speaking with; I will make a ring of it so that he may wear my silence on his little finger In a drop of water the little boy was looking for his voice. (The captive voice, far away, put on a cricket's clothes.) Translated by William S. Merwin
When I realised that what I do really well is play women who are tough and vulnerable, it was a moment of clarity. Many female characters either have one trait or the other, but I play both. I don't need to play characters who are like me. I can just do that with my life.
There are characters in movies who I call 'film characters.' They don't exist in real life. They exist to play out a scenario. They can be in fantastic films, but they are not real characters; what happens to them is not lifelike.
Boy's natural play is rough and tumble play, it's the universal play of little boys. And it's very different from aggression. And we are a society that's failing to understand the distinction.
A mother and a little boy were walking along, and I could tell the minute the recognition hit the little boy. As he walked by holding his mother's hand, he said in a real loud voice, 'Look, Mother. There goes an old Gomer Pyle.'
Look, I play all these tough guys and thugs and strong, complex characters. In real life, I am a cringing, neurotic Jewish mess. Can't I for once play that on stage?
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