A Quote by Kate DiCamillo

I'm at the mercy of whatever character comes into my head. — © Kate DiCamillo
I'm at the mercy of whatever character comes into my head.
Mercy Watson was a character that had been in my head for a long time.
Whatever character you play, whatever film it is, whatever story it is, for me, in my training it's always something that gives you a layered character, it's understanding the secret of that character, and so whatever comes up as "Oh, I thought that person was that," you are always carrying that within you. So actually what you're playing all the way through is both and it's just what comes out in the scene or the circumstance.
The moment we think we deserve mercy a little alarm bell should go off in our head because we are not talking about mercy anymore but justice.
I have pretty much always been about - if I write that song or whatever, it is all for Mercy Me. Anything I want to do is for Mercy Me.
In low comedy, a character gets hit in the head, and you don't really believe it. In farce, he's hit in the head, but he must be hit in the head. The character requires it.
Because God is a God of mercy and His mercy endures forever, you can trust that he will have mercy on you (See: 1 Chronicles 17:13). Therefore you can show mercy to your spouse by forgiving whenever he (she) does or says something that hurts or disturbs you.
Into the mercy seat I climb My head is shaved, my head is wired And like a moth that tries To enter the bright eye I go shuffling out of life Just to hide in death awhile And anyway I never lied.
It's so different going in the studio and singing your own music and you don't really think about making sure that the message of the song or the idea behind the song comes across to people. Because it's in your head, it's in your heart, whatever, but it's... different when you're playing a character and you're singing as the character. There's just a lot more involved in that, I guess.
Building a relationship with the character. It's just like sitting with someone you know. It's very easy to predict when they're going to shake their head or say whatever, but because I'm the author I have to make characters do what I want them to do.
Every character I've had in my act - none of them have a similar creation story. I actually thought up Peanut and designed him in my head. I described him to a woman that was making soft puppets and she drew up some sketches. And the character came to be just because he popped into my head.
I never like to judge the character. I just have to leave my feelings of pity, or fear, about a character - whatever I feel towards the character, I try to leave to one side. It's good to have them, but it doesn't help me. I can't act those things. I just to play the character as truthfully as I can.
My job as the associate head coach was to make sure the head coach has everything he needs. That's my job. Whatever he needs me to do and whatever I see fit to do to help the team win.
We need to show mercy. I mean, because as much mercy as you show people, that's the mercy you're going to be receiving.
I want to push that no matter what race you are, you're never just a sidekick or broken character. You're the main character, you're the funny character, you can be whatever you want.
With any actor, if you know your character well enough, you'll know pretty much what he would say under any circumstance, or whatever situation might rear its head.
I'm not a writer; I'm an actor. My job is to take whatever character I'm given and - especially because I have the responsibility of being a black actress, and I know young black girls are looking up, and everyone's looking to what's on television - to just try to give whatever character I'm playing as three-dimensional a portrayal as I can.
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