A Quote by Denis O'Hare
Evil is such a simplistic way to describe any character, be it Iago or Caliban, or any character from history.
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Cable news is 24 hours long so you have to fill it up with something. No, the Muppets are not communist. And the character of Tex Richman is not an allegory for capitalism in any way. The character is called Tex Richman. It's a joke. Clearly he is a classic, old school bad guy. He's bad not because he works for an oil company but because he's evil. No, it's not a communist movie in any way.
Any character that you come up with or create is a piece of you. You're putting yourself into that character, but there's the guise of the character. So there's a certain amount of safety in the character, where you feel more safe being the character than you do being just you
A guy's who has all the money he needs and never faced any hard times, he won't have any character. But when you've had it tough and you've had it rough and you thought you were at the end of the rope and you work your way out of it, that's the way you build character.
Iago is one of the most liked characters in Shakespeare's canon, and he's the most evil, most extraordinarily manipulative person in history. He says the worst, most politically incorrect things, even for the time the play is set in - and yet audiences adore that character.
I abhor badly-written characters and any character, be it man, woman, any character in the film. If it is a well-written character, it will come across as strong.
The most unrealistic thing I've ever read in comics is when some group of characters calls themselves the Brotherhood of Evil or the Masters of Evil. I don't believe any character believes their goals to be truly evil.
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.
In any character you are given to play, be it evil/good/whatever character, you begin with self. You examine yourself and ruthlessly see similarities between you and the devil, or between you and the dictator, or between you and the kind man.
I kind of cheer the presence of any gay characters at all - I think the more we can saturate television with any gay character or lesbian character or transgender character, I think that's a really great thing. We're kind of getting past the fact that they're the punchline or that they're the novelty.
When you describe a character's dream, it has to be sharper than reality in some way and more meaningful. It has to somehow speak to plot, character, and all the rest.
Honestly, when you think of any great action hero or any great hero out there or great character actor, you kind of transcend the character. You just don't love the character, you love the guy. In any of the great action stars, you see the guy doing the work.
You can't get any more evil than Iago or Richard III. Those guys are bad.
My work sanitizes it (emotion) but it is also symbolic of commercial art sanitizing human feelings. I think it can be read that way.... People mistake the character of line for the character of art. But it's really the position of line that's important, or the position of anything, any contrast, not the character of it.
People will have their guesses and opinions on my character, but anyone that's actually sat down and talked to me knows that I don't have any character issues, any off-the-field issues.
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.
When I'm writing, I try to have the mask of my character on as I'm walking through the world. When I'm not at my desk, the rest of the time, I try to stay in that character and see the world the way that character would It's almost like method acting in a way — keeping the character close the way the actor keeps a script close and always tries to be in character.
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