A Quote by John Carroll Lynch

Breathing is always key in any character. When you have a character with no voice, that makes it even more important. — © John Carroll Lynch
Breathing is always key in any character. When you have a character with no voice, that makes it even more important.
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
There's always that key to every character that lets you go to those places you need to go to. No matter how much you might hate the character, it makes you understand it.
I think everything you do, characters I always find, have their own voices and once you establish who that character is you find a different voice. I think it's just a question of establishing that character and the voice speaks through that character.
I try to keep my voice natural for each character, but the spirit and the cadence and breathing for each character is totally different. It's those things that set each role apart from the others.
When I read to children, I try to become the characters. It's great if you can make a separate voice for each character. Sometimes you can lower your voice with excitement or get more intimate about it: you can lean forward and engage the children as a narrator or as a reader. It's particularly important that you find the voice that you want to use for each character, because then children can imagine that person as you're reading aloud. And of course, the illustrations help enormously.
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.
For me, the key is always trying to find the connection between the audience and the character I'm playing. That's important to me, in any work I do.
The first thing that happens is the cleansing of the former character. I don't think a lot of actors talk about it, but there is usually a process where you essentially purge yourself of the character played prior to the movie. Then you want to think about what the character represents, and you write down all of the elements about this character and then take the time to find some synchronicity and start breathing the character.
I had a very low voice for the character in the show. I said, "That's not actually my voice. That's the character's voice." I'm being such an actor.
Once you watch any character for nine-and-half hours, be it good, bad or grey, you tend to attach yourself with it. You always feel for the character, even if he is a villain.
The leading character isn't always the most important or interesting character; when people think that the protagonist is the character portrayed, it's people who haven't read Shakespeare.
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.
If you have a character who wins all the time - well, if you have a character that loses and wins, it makes him more alive. Bugs Bunny, for example, didn't always win.
I don't only act out of my character; my character reacts to my actions. Each time I why, even if I'm not caught, I become a little bit more of this ugly thing: a liar. Character is always in the making, with each morally valenced action, whether right or wrong, affecting our characters, the people who we are.
Human character is just endlessly fascinating, and there is no character who is one thing any more than any one person is just one thing. As you work on a character, he/she is revealed more and more. That's what I continue to love about the work.
I think when you're playing a character in any film it's so crucial to have the costume that makes you feel like you're going to be that character.
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