A Quote by Kevin Munroe
I love when you take bizarre, non-human things and somehow make them human or accessible. I think that's why I like the practical effects. You can look at a creature and still see vulnerability or the character behind the creature. To get character behind CG creatures, that's so few and far between.
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I don't think you have to like a character, but if you can understand why they do what they do, or the position they're in or why they make certain choices, then you can get behind them.
Since we are not yet fully comfortable with the idea that people from the next village are as human as ourselves, it is presumptuous in the extreme to suppose we could ever look at sociable, tool-making creatures who are from other evolutionary paths and see not beasts, but brothers, not rivals, but fellow pilgrims journeying to the shrine of intelligence...The difference... is not in the creature judged, but in the creature judging.
I’ve never seen an exploding helicopter. I’ve never seen anybody go and blow somebody’s head off. So why should I make films about them? But I have seen people destroy themselves in the smallest way, I’ve seen people withdraw, I’ve seen people hide behind political ideas, behind dope, behind the sexual revolution, behind fascism, behind hypocrisy, and I’ve myself done all these things. So I can understand them. What we are saying is so gentle. It’s gentleness. We have problems, terrible problems, but our problems are human problems.
As an actor playing a character, you look for all of those avenues to see if there's any sense of vulnerability or love that you can bring to a character, and decide how that's portrayed and how that's going to be a struggle with the other characters. It's your job to take that on and challenge yourself, and meet that head on and see what happens with it.
To me, cruelty is the worst of human sins. Once we accept that a living creature has feelings and suffers pain, then by knowingly and deliberately inflicting suffering on that creature, we are guilty, whether it be human or animal.
It's the false moral component behind blind animal love that so frosts me. The faulty logic that believes that the capacity to adore a nonhuman creature is somehow a purer form of love.
Human nature means battling constantly between being completely self-absorbed and trying to be a communal creature. Nature makes you a communal creature. The ultimate single-minded, self-centered creature is a cancer cell. And mostly, we're not made up of cancer cells.
If you're doing television, you get to be a character for a long time, and the cast around you becomes like family. You get attached to playing that one character, and it's hard leaving them behind.
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.
Some things which are remote in space and time from a living creature, especially a human creature, may form his environment even more truly than some of the things close to him.
As a writer, you have to put yourself in service to the character, get behind their eyes by delineating the world where the character develops. You have to listen to the character and see him inside his certain world to know what conclusions he would draw.
I think connecting to a character is like connecting to any human being - either you like them or you don't. You might not be able to list the reasons why you love your best friend or what attracted you to them; it's just something that you feel - a connection, an understanding, or a curiosity that makes you want to get to know them.
And, for any performer, to be able to go deep into character is fantastic. In film you only get to do that if you're the leading character. But in television you get 18 hours to really test the audience and take them to the edge of how far they will go with this character. I can step over this line and I love that.
In effect, painting is the still memory of [the artist's] human motion, and our individual responses to it depend on who we are, on our character, which underlines the simple truth that no person leaves himself behind in order to look at a painting.
Acting is about giving yourself away, like the U2 song 'With or Without You.' You just don't stay behind a character and make people laugh or cry. At some point you have to take off that mask, and when you do, you're a human being, not just an actor. After all, I'm Catherine the person first. You share that.
I am intrigued by the basics of human life, by our vulnerability, our desires, our sexuality - as far as I am concerned, character is expressed through sexuality. Art is able to represent human existence stripped to its essence by showing us the naked human body.
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