A Quote by Kyra Sedgwick
While it is challenging working with a kid, because they're so of the moment all the time. My acting style is to try to take something from my life that the character can relate to and that I can relate the character to.
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I don't really try to judge any character that I play, afterwards I figure it out, but while I'm working on the character, I have to find something in them to relate to.
I enjoy a character who sticks to her guns, who's always challenging herself. That's something I can relate to.
It's nice to be able to explore both sides of my personality. I definitely relate more to Debbie, my character on The Grinder. But it's really nice because I get to play a character who's down on her luck and kinda slipping off the edge in It's Always Sunny, while at the same time getting to play this character who's a mom and holding it together on The Grinder.
I believe life experiences are what an actor needs to relate to the character roles they take on, and to say the least, I've had many experiences leading up to this moment. Not only have my experiences become a tremendous asset in my acting, but also they helped me discover who I am and who I want to be.
It's really interesting that, in 'The Avengers,' the character that people relate to is The Hulk, and I think the reason why they relate to The Hulk is because he's fragile and human and faulty.
I really felt good after working in a film like 'Piku,' as many people could relate to my character. I got letters from my fans telling me how my character resembles to their grandparents.
When I'm writing, I try to have the mask of my character on as I'm walking through the world. When I'm not at my desk, the rest of the time, I try to stay in that character and see the world the way that character would It's almost like method acting in a way — keeping the character close the way the actor keeps a script close and always tries to be in character.
'Greatest American Hero,' I really dug that as a kid because it had an alienation to it, where he was given a gift and didn't know why, and yet he was forced to do something with it, and he was very much an out-of-place character who was trying to cope with his own surroundings, and I can kind of relate to that guy.
Greatest American Hero, I really dug that as a kid, because it had an alienation to it, where he was given a gift and didn't know why, and yet he was forced to do something with it and he was very much an out-of-place character who was trying to cope with his own surroundings, and I can kind of relate to that guy.
I can obviously relate to a character who is an artist, because the creative process is a big part of my life.
I just always want to play people. I don't want it to be necessarily that you relate to the character as female or male, but that you relate to them as a person. That's the driving force.
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 can relate to what the character's going through, the story can be as ridiculous as possible, and people will relate to it. You can be fearless in your storytelling if you're vigilant about protecting your characters.
If you try to create something that everybody can relate to, you're gonna make something that nobody can relate to.
I think everybody should act! I would encourage everybody to do one thing, join a theater class or something. It's so good to take a character that you think is wildly different from who you are, and to try to relate to that person and become that person is very helpful. It's hard to articulate what you learn, but you can feel the effect of these characters that you play and take with you.
I always want the audience to identify with my character in some way. I mean, sometimes you'll get characters that aren't very identifiable. Sometimes you can't relate to your character at all. I think it's important to keep the audience interested. But the best advice that I've gotten is to live in the moment.
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