A Quote by Kylie Bunbury

I normally play very serious characters. — © Kylie Bunbury
I normally play very serious characters.
I think it's cool to play characters who are very joke-y and yet you can show a total serious, very somber side to them. You don't normally get that in a film - and in a [film] series especially. To be able to do that was really cool.
Just like how male actors get to play varied characters, I would also like to play characters that people don't normally see female characters portraying on screen.
To play these twisted, tormented characters is very draining. You have to sit in the pocket of that character for the duration of the shoot, which is normally an average of three months, and that can be taxing!
Normally, you spend the play convincing people of the world and the characters.
For me, personally, I think the serious gamers - the guys who know the levels - play Xbox, and people who are just good at the game play PS3. I play PS3 because I'm not a serious, serious gamer like that. But when I play the Xbox, the standard is so much higher.
Interesting characters are troubled characters. The only problem I've had in my business is very few people - unfortunately, very vocal - confusing the difficult role that I play with me. I play these guys, but I'm not like them. I've been accused of being difficult to work with.
I don't think I play only serious characters.
Normally, filmmakers would just write a script and cast people to act as certain characters in the story. But in my way of doing things, I have the actors in my mind already, so I'm trying to borrow something that's unique to them. The characters have a very natural connection to the actors themselves.
I love musicals but it's very, very different. It's really just a different form than serious drama, and has very different rules and a completely different set of characters and requirements and ambitions. It maybe shouldn't be as separate as it is, but it's got a different history. In terms of serious drama, I think you'd have to say that you could break it down essentially into the narrative realist tradition and experimental theater.
GOOD AS NEW was born out of the idea of writing a play where the stakes were high and the collisions were of a verbal nature. Also I wanted to write a play where people were smarter than I was, and more alive than I feel normally. I became interested in the idea of characters who would surprise me. I guess one could argue that nothing comes out of you that wasn't within you to begin with, but maybe there are ways to trick yourself into becoming more an observer or an advocate for the characters.
I understand pain very well, so I look for that in a role. If the characters are well-written, don't tell nobody, but I'll do the damn thing for free. I'm serious. It's the writing. I love beautifully flawed characters.
Normally, when you're working on something, there are other characters that you have alliances with, and you have unified goals with some characters.
Normally, when youre working on something, there are other characters that you have alliances with, and you have unified goals with some characters.
I like to play very raw characters, characters who have a degree of vulnerability and passion about what they're doing.
I tend to play strong characters and people just assume that I would want to play romantic comedies, which I would love to do, but there are other women that do it so great and they maybe couldn't do what I do, play the kind of characters that I play.
Play is often talked about as if it were a relief from serious learning. But for children play is serious learning. Play is really the work of childhood.
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