A Quote by Paul Rudd
I don't find the characters I've played funny. The characters are actually taking their situations very seriously.
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Comedy characters that take themselves very seriously, but are actually fools, is so funny.
Fortunately, we have writers who very much respect the classic characters and the integrity of the classic characters, that are also terrific comedy writers and are able to put these classic characters in new and interesting, and quite funny situations for today.
I take all my characters very seriously - the main, secondary, and supporting characters. Even if they only appear once, they still need to have their own life. Some characters are absent literally but at the same time very, very present.
I always find it actually funny that the analysis is that the characters I play in comedies are the manchild, the adolescent, characters that refuse to grow up. And yet, if you look back in the history of comedy all the way back to the Marx brothers, that's a big part of comedy.
I like complex characters. I've been very, very lucky to portray, in these past three years, characters that are strong and fragile at the same time. It's those characters that I'm looking for. In the last year and half I played three different religions, and that allowed me to educate myself so much.
I love playing women, and I think that this is a throughline to a lot of the characters I've played - they all have this aspect of being wronged. And I think, a lot of the time, the characters are actually wronged by themselves, and they find someone else to blame it on.
I like shows where the female characters are as funny as the male characters, not just commenting on how funny the male characters are.
A lot of time, the characters I've played in the past kind of come out in me in situations when it's very useful.
I had played many gay characters before, but they were finite - guest characters in TV shows or characters in plays.
It's funny what [producer Richard Zanuck said about even though you can't quite place when the book or the story came into your life, and I do vaguely remember roughly five years old reading versions of Alice in Wonderland, but the thing is the characters. You always know the characters. Everyone knows the characters and they're very well-defined characters, which I always thought was fascinating. Most people who haven't read the book definitely know the characters and reference them.
I have played several characters that are crabby and cranky. I don't know if I'm just not a very well-developed human being or if I don't know myself very well, but I tend to find I can take on elements of the characters that I'm playing. When I was playing a character like Becky Freeley in Miss Guided found that I was insanely positive and happy all the time.
I think sometimes people become quite emotional about the characters as well, and that's pretty cool that you can get that emotion out of people. And I think that's more my motivation than like, "Hey I want to be the funny guy, I want to be that famous funny guy." That doesn't sit as well with me as the idea of taking people on this ride and taking them into the illusion of the characters. That's much more exciting for me.
I'm grateful that so many viewers have related to characters I've played. I think many in the audience see themselves in my characters or feel like the characters are similar to their friends or sisters.
I think it's more fun to grow to love characters who are flawed than it is to present perfect characters. Perfect characters aren't very funny. Certainly my friends are a strange, intense bunch of people, and people's families drive them crazy, but challenging relationships are always more rewarding.
It's a funny show. The characters are surprisingly likable, given how ugly they are. We've got this huge cast of characters that we can move around. And over the last few seasons, we've explored some of the secondary characters' personal lives a bit more.
I see this with experienced writers, too: They worry so much about the plot that they lose sight of the characters. They lose sight of why they are telling the story. They don't let the characters actually speak. Characters will start to dictate the story in sometimes surprising, emotional, and funny ways. If the writers are not open to those surprises, they're going to strangle the life, spark, or spirit out of their work.
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