A Quote by Kyle MacLachlan

I questioned everything. I didn't see a character developed in Platoon at all. The character in Blue Velvet was much more fascinating to me. — © Kyle MacLachlan
I questioned everything. I didn't see a character developed in Platoon at all. The character in Blue Velvet was much more fascinating to me.
I questioned everything. I didn't see a character developed in Platoon at all. The character in Blue Velvet was much more fascinating to me
Music has fed me a lot of ideas... The film BLUE VELVET came out of Bobby Vinton's version of the song BLUE VELVET.
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.
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.
He's [Jesus] the most fascinating character in history, really - the character who's made more difference to the world than anyone since him. I daresay that Muslims would say Muhammad was that character, but I think Jesus had a sort of 600-year start on him.
The person you see in the ring is me in a mosh pit, pretty much. I am that character, I don't even like calling it a character. It's just me.
I love the idea of seeing a character - I mean, there's nothing like seeing a character and having the huge detail and roundness that a character in a book can give you. It's so much more full than a character in a script can give you, isn't it?
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.
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
I wouldn't want to play a character that knew everything and knew where to go. It is much more interesting playing a character that is vulnerable trying to be strong. It makes for better TV.
Having been a theater person first, you have the whole character, and you see the arc of the character in a play. And then when you do a movie, you have the whole character - or, if it's a small role, there's not much arc, but you see what the whole part is.
If I speak with a character’s voice it is because that character’s become so much part of me that … I think I have the right then to imagine myself into the skin, into the life, into the dreams, into the experience of the particular character that I’ve chosen.
A black character is much more than just a black character; he's a character, period. So show the world as it is. Even with all your artistic license, you make a political choice.
She wore blue velvet Bluer than velvet was the night Softer than satin was the light From the stars She wore blue velvet Bluer than velvet were her eyes Warmer than May her tender sighs
I must say Steven Spielberg was great to me, and I loved working with him. He called me up on the phone and was like, "I want you to be in this movie - 1941. There are a couple of parts. You can take whichever one you want. One of them is a main character who is involved in everything, and there's another character who has his own storyline and goes off on his own. He's probably the funnier, more unique character." I said, "Well let me do that second one."
You normally either get bitten by a character and decide that is the way to play it, and then that begins to inform everything you do, or you decide, 'I don't need to use much character in this - I have basically got to be me'.
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