A Quote by Esme Creed-Miles

What was really special about 'Hanna' as a character is her pursuit of agency. — © Esme Creed-Miles
What was really special about 'Hanna' as a character is her pursuit of agency.
My job as the actress playing Hanna Schmitz, as the actress playing any part, is to understand the character, and to ultimately love the character. And I did love Hanna, absolutely, because I understood her as profoundly as I did at the end of the day.
I love Elektra. I really have a special place in my heart for her. It was very enjoyable for me to discover her and to adapt her for this project and bring myself to this character. So I have a special spot for her.
I think growing up, the assimilation of most cultural conventions typically encouraged by a heightened awareness of gender and sex encourages a sort of separation of the self. What's so special about 'Hanna' is that her upbringing has negated this indoctrination; she's almost absolved of the pressures of gender or gender itself.
What I love about Bridgerton' though is that the women in it do have their own agency within the context of the time. In fact, Daphne is actually quite a feminist character because she's in control of her destiny.
I really enjoyed being Peppy Miller. She was an amazing character and her energy followed me everywhere. When I talk about her I want to be her again.
'Wanted' is about a girl I was friends with, but at the time it was teetering on the edge of something more. I wanted to show her that I really cared about her. 'Wanted' was my way of saying, 'we're friends and have a great foundation, and this could be something really special.'
There's so much with my character in Dredd that I identify with. She's my favorite character I think I've ever played. She's the most dynamic and fascinating woman that I could even imagine playing, so I love her. What I love about her is that her sensitivity is her greatest strength.
There's so much with my character in 'Dredd' that I identify with. She's my favorite character I think I've ever played. She's the most dynamic and fascinating woman that I could even imagine playing, so I love her. What I love about her is that her sensitivity is her greatest strength.
If the agency of the mother in forming the character of her children is, in truth, so considerable, as I think it - if she does so much toward making her son what she would wish him to be - how essential is it that she should be fitted for the beneficial performance of these important duties.
I thought 'Hanna' was an opportunity to explore a character whose femininity was so raw and unconditioned by the modern world.
I wanted to do something about a really optimistic character: a character who was so optimistic, no one could burst her bubble.
There was one very special scene at the end of the film. My character, Zhao Di, has been sick. She wakes up and her mother tells her that the man she loves has come back from the city and had spent the day by her bedside.
I think hand-drawn animation can be something really special. If the character design is quite simple it has the ability to allow people to easily relate to the characters in a special manner.
I think that there's something really special about doing a series. You get inside the skin of that character 'cause it's such a long time.
Her motivation was love, her love for her father, and her journey of finding out who she truly is. That was my homework, and I would say that it motivated me to prepare myself mentally, but also physically, with a lot of gym stuff, fight training, horse training. But at its core, 'Mulan' is really about the character, the spirit.
If you look at Citadel today, that's really - the founding principle of the firm is a real pursuit of talent, a pursuit of people who have a passion for finance, and a pursuit of individuals who make good decisions day in and day out.
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