A Quote by Marshall Allman
You can't judge a character that you're playing, because then you're fighting against doing what the character's doing.
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I just didn't want to get bored playing a character, and that's kind of the benefit of doing films; you've lived with a character for four or five months and that's it, and you walk away from that character and you feel like you told a story.
It's a challenge of to write a narrator who is doing something that is really unlikeable and morally questionable. A lot of times, you read a book because you like the character, you are cheering for the character; you want the best for the character.
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.
When you're doing lots and lots of episodes and you're playing the same character, it's great because you really get to know the character and it becomes a really fast style and you find subtleties in it.
I started doing comedy just as myself, because I thought, "This is what's expected, you're meant to tell stories and do observations." And then I started to realize that I wanted to mix it up a bit, so I started to doing songs, and I had a little keyboard onstage and would bring in little props. Then I thought about the idea of talking about a character and becoming the character onstage. So, it sort of morphed into being stand-up that was more character based, and I found that's the stuff I got the better reaction from and was more exciting for me.
This is a corny actor thing to say, but the first step is that you can't judge the character that you're playing. If it's built in three-dimensional fashion, you'll just play a character who's going out and seeking the best version of their life that they can find. That gives the character an accessibility that everyone can identify with.
The only thing that I know how to do as an actor, as a trained actor, is you can't villainize the character you're playing. Whether it's a fictional character or a real character. Because then you operate from that sort of negative point of view, and you can't humanize him.
Since I do seven different styles of martial arts, I don't foresee myself fighting the same in any two movies. I think every fighting style should fit the character that's doing the fighting.
When you're playing a character, I think it's always better not to judge that character.
When you're no longer seeing yourself, in some ways. You're as close to being as you can be.I suppose that's consistent with the moment that the mind actually turns off, and is no longer questioning what you're doing. When the questions stop, that's when the real acting takes over. And trying to get to the point where the questions stop, "Would I do this? How do I feel about that as a character?" When those stop, and it's just doing X, Y, and zed, because that's what you'd do as this character, because you're inside this character somehow - that's when it really kicks off.
My approach to the work is the same, whether I had the lead or a supporting role. I consider myself a character actor in the true sense of the word. Unless I'm doing my autobiography, I'm playing a character.
To me, the psychology behind the character is critical. So I work very hard to get into the mind of the man that I'm going to be playing, because number one, I want to understand why he's doing what he's doing. It's essential, it's absolutely essential.
When you're doing a play that's fully produced, you have the benefit of rehearsing for four or five weeks, so you really get to live in the skin of the character for much longer than when you first start doing a character on TV.
I try to discover the character's primary motivation. In a screenplay, you can make up a hundred different variables of a character. Is he there for love or respect, or is he there out of fear? What's he doing? Why is he doing it? Then I can build on the intricacies. Does he pick his fingernails? Does he always do this when he's lying? All the little things that come with it. But it's also like, if you're doing a caricature and you're like, "I want to do a blue-collar guy from Jersey," you have to go and do the research on the region, the who, what and why.
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.
If you are lucky as an actor, you are doing a character that really matches where you are in life, or you're doing a character that is not where you are. If it's somewhere in between, you have to use a lot of imagination and a lot of thought.
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