A Quote by Michael Sheen

As a general thing, I've always been drawn to characters who appear to be one thing on the surface, but are actually something else underneath. — © Michael Sheen
As a general thing, I've always been drawn to characters who appear to be one thing on the surface, but are actually something else underneath.
I think one thing with Sweden is that in some way the Swedish society is a very good society, almost perfect on the surface. That is something that makes the writers forced to see what is underneath the surface, because it's always something underneath the surface, of course.
As a surfer, I think of places like a wave: you see one thing on the surface. But you always know there's something different going on underneath.
Although my stories are all very different on the surface, I like to write stories about characters struggling with big problems. I'm always reminded, no matter how different from me one of my characters is from me on the surface, how we're all pretty much the same underneath.
There are so many fantastic roles, but the ones that have always drawn me to them are the loners who, for whatever reason, never quite fit in and knew it and had to find their own way. I've always been drawn to that, for some reason. I've always been drawn to that sad, isolated place, but what it produces in behavior is something else, entirely. For whatever reason, I'm drawn to these people. Essentially, I think what draws me is that they are survivors against rather considerable odds.
Friendship is a simple thing, and yet complicated; friendship is on the surface, something natural, something taken for granted, and yet underneath one could find worlds.
Otherness is a big thing for me. I'm always drawn to characters that live lives that I couldn't lead.
I'm really drawn to comedy. I grew up in the South, so I'm drawn to all things southern, so my role in 'Getting On' has been fun for me to play something southern - I always feel like I understand those characters more because of where I was raised.
Well, that's the great thing about indie film, in general. If it's not subject to the constraints of too much pressure from the studio or marketing, and all of that, you get to actually present fuller characters and you get to have the dark side of the characters. That's usually what gets cut out.
At the core of every person or belief, there's a pain and a thorn. There's always something, whether it's a physical thing, a health thing, or an I wish I had someone or something in my life thing. We all know some level of pain, so I like to see the ugliness of characters. It's a side that we show, only when we strip down in the bathroom mirror.
I'm extremely straightforward. And I can't do that sort of traditional girl thing of saying one thing that actually means something else. I never understood it, and I still don't understand it.
I feel like I am very drawn to the short form stuff because it's just fun to be making something, and then, a week later, it's out. I will always be drawn to that kind of thing.
Every great narrative is at least two narratives, if not more - the thing that is on the surface and then the things underneath which are invisible.
I've played a lot of characters who are creeps or weirdos, with a deep darkness underneath the surface.
The thing that attracted me to 'CSI' is that these guys are always professional, but underneath, it's teeming with a heavy shadow. Maybe even some decadence and some weirdness with certain characters! And that always intrigued me as an actor.
For me, there is a stigma attached to playing beautiful parts. They are often empty characters whom the action happens around. I'm more drawn to characters with a complex internal life, who have a burning frustration underneath that keeps them going.
I never really got the book together for the thing, so I had all the songs and the characters. But by the time we'd gotten it on the road and I'd been doing it for 18 months, oh God, I couldn't wait to move on to something else.
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