A Quote by Andy Daly
I prefer not to wink out from behind the character as myself, saying to the audience, "It's just me here, right, guys?" Peter Sellers is my model, and he didn't do that - he wore his character from head to toe.
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You never saw Peter Sellers the actor trying to make you laugh. All he was doing was the character. What I'm saying is that I don't think you should know you're in a movie. I don't like it when actors are winking at the audience and saying, 'Right, isn't this funny? Are you with me?'
Peter Sellers was a solitary character, always preferring to hide behind a mask, and consequently, you never really got to know the real Sellers.
My influences were Peter Sellers and the great British character actors.
If I speak with a character’s voice it is because that character’s become so much part of me that … I think I have the right then to imagine myself into the skin, into the life, into the dreams, into the experience of the particular character that I’ve chosen.
Movie stars exaggerate certain things to let the audience know they're just playing a character, as if they're saying, "Look at me, I'm not really an old man, I'm just playing one." Or "I'm not really a homosexual, I'm just playing a gay character. Or an alcoholic. Or somebody who's mentally impaired." They often do it very successfully and win awards for it.
I think you should identify with your character, but plenty of people like themselves and hate themselves. You just have to find out what's truthful for the person you're playing. When people talk about that, I think what they're saying is that as an actor, as Peter, you don't want to make a judgment that comes from your worldview about the character. Your judgments should be coming from the place of the character, and within that space, sure, you could love or hate yourself or whatever you think is most appropriate.
American Graffiti was the first movie where the director let me have any input. It was the first time anyone ever listened to me. George thought my character should have a crew cut, but I wasn't happy with that idea. I'd always had pretty long hair back then - in college, particularly - so I told George my character should wear a cowboy hat. George thought about it and he remembered a bunch of guys from Modesto, California, who cruised around, like my character, and wore cowboy hats, so it turned out that it actually fit the movie.
To be honest, I would like to have worked with Peter Sellers, because when people talk about classic British actors, you talk about Lawrence Olivier, and Peter Sellers was just in the most amazing films.
Once he became a series character, I made the conscious choice that he would never act like a series character, never wink at the reader, never pull his punches. Better for him, better for me.
I've always been very strong minded on character-based fights and character-based action. If you take the character out of the action and you just shoot it as an action sequence, the audience starts to lose connection.
Any character can find an audience and work if you have passion for that character. You might have to just scrape off the dirt and the barnacles and pull it out and highlight it.
I love to come in and play with a wig or glasses or clothes. I love using props. I'm from the Peter Sellers school of trying to prepare for the character.
I pride myself on doing character-driven movies and, when my movies have worked, it's been because of the right casting and the right character, and it just clicks.
You relate to a character and you find that character within yourself. It's all parts of me. I don't leave characters behind. I just let them go.
At the time, I used to say, "We should market this like Everybody Loves Raymond. It's just a guy dealing with his family." Instead, it was irresistible to show all these funny people. So, I actually think this could be more inviting to a new audience because they can just watch one character, find out what's going on in his life, and then meet another character and find out what's going on in her life, and then see how it intersects the other one.
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.
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