A Quote by Radhanath Swami
Real religion is about, developing real character; character of compassion, character of humility, the character of determination to grow in all circumstances.
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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.
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.
I think, for every actor, the most challenging part of playing a character, specially a real-life character, is to convince yourself that you are the character.
Taking on an iconic character is difficult, sure, people associate different actors with a character that you're playing, but there's something in rehearsing and developing a new character.
Any character that you come up with or create is a piece of you. You're putting yourself into that character, but there's the guise of the character. So there's a certain amount of safety in the character, where you feel more safe being the character than you do being just you
Every characteristic of my character and my moves always came from my real life. My character is kind of close to my real personality.
As an actor, I need to convince the audience that the character that I'm playing is real, and the situation that this character is in is also real.
What is the character trying to say? Why? Be as specific as you can, using sense images that evoke something about the character. Try using the character's senses, even if the character is you.
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.
The first thing that happens is the cleansing of the former character. I don't think a lot of actors talk about it, but there is usually a process where you essentially purge yourself of the character played prior to the movie. Then you want to think about what the character represents, and you write down all of the elements about this character and then take the time to find some synchronicity and start breathing the character.
Obviously, with a CGI character, you're building a character in much the same way as a real creature is built. You build the bones, the skeletons, the muscles. You put layers of fat on. You put a layer of skin on which has to have a translucency, depending on what the character is.
A Dickens character to me is a theatrical projection of a character. Not that it isn't real. It's real, but in that removed sense. But Sherlock Holmes is simply there. I would be astonished if I went to 221½ B Baker Street and didn't find him.
I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.
Do I think he's got character? Yeah. You don't play defense like that without deeply caring about teammates... John Wall plays real defense. He's got real character.
When you are writing, you have to love all your characters. If you're writing something from a minor character's point of view, you really need to stop and say the purpose of this character isn't to be somebody's sidekick or to come in and put the horse in the stable. The purpose of this character is you're getting a little window into that character's life and that character's day. You have to write them as if they're not a minor character, because they do have their own things going on.
In most good stories, it is the character's personality that creates the action of the story. If you start with real personality, a real character, then something is bound to happen.
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