A Quote by Amber Heard
I take the sexy girl parts and try to give them something else and make them a character.
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I say I'm a rebel. I'm continually fighting against [sexism]. I don't take parts because they're for the sexy girl. I take the sexy girl parts and try to give them something else and make them a character.
I find people sexy, and I find personalities fascinating and sexy and appealing and charming. So a sexy girl wrapped in a sheet is a sexy girl, and an un-sexy girl in a low-cut dress is still an un-sexy girl.
The sexy moments for me, I wasn't thinking of them as sexy. I was thinking of them as more specific to my character. So it was necessary for my character's development in the movie, so that's how I played it.
When we start shooting I don't have rehearsals with characters at all. So, rather than pulling them towards myself, I travel closer to them; it's very much closer to the real person than anything I try to create. So I give them something but I also take from them.
The world is rated R, and no one is checking IDs. Do not try to make it G by imagining the shadows away. Do not try to hide your children from the world forever, but do not pretend there is no danger . Train them. Give them sharp eyes and bellies full of laughter. Make them dangerous. Make them yeast, and when they’ve grown, they will pollute the shadows.
I try to study the background of the country I am in and what were my hits there, so I can at least give them some of what they want. It's like a wedding - give them something old, something new, something borrowed and definitely something blue!
As an actor, you'll have ten parts in 2015 - eight of them will go to the other actors above you and two of them you might be close to, and you try to make them as good as you can.
That's been my main interest for the last 15 years, is to really make sure the story and the characters take precedence over everything else, and that I give them everything I can to make them exist as actual people.
I have ideas that I think might be amusing, and I try them, and if they look right, I carry them out, and if they don't, I throw them out and try something else. I don't agonize about it.
I'll see a photograph of a character and try to copy them on to my face. I think I'm really observant, and thinking how a person is put together, seeing them on the street and noticing subtle things about them that make them who they are.
There was other stuff, too, like how something can be so much more than the parts it took to make it, and why people need things around them that lift them above their lives and make them feel the miracle of living.
All the parts of us that we ever were are always going to be with us. You make space to carry them and you just try not to let them drive. But you can't chuck them out either.
When you try to portray people's lives, you try to make sure you don't portray them as clowns and that you give them a level of dignity. You don't try to change their persona, but you try to understand that they had unique problems, set in a century that you don't live.
Whenever you try to do good with someone else's money, you are committed to using force. How can you do good with somebody else's money, unless you first take it away from them? The only way you can take it away from them is the threat of force: you have a policeman, tax collector, who comes and takes it from them.
I love my snaggle fangs. They give me character and character is sexy. People comment, but the only person who ever told me to fix them was my mom ... I just went my own way, like daughters do.
You see, Dash -- I was never the girl in your head. And you were never the boy in my head. I think we both knew that. It's only when we try to make the girl or boy in our head real that the true trouble comes. I did that with Carlos, and it was a bad failure. Be careful what you're doing, because no one is ever who you want them to be. And the less you really know them, the more likely you are to confuse them with the girl or boy in your head.
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