A Quote by Ralph Waldo Emerson
Human character evermore publishes itself. The most fugitive deed and word, the intimated purpose, express character.
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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.
As human beings, of course, we're all compromised and complex and contradictory and if a screenplay can express those contradictions within a character and if there's room for me to express them, that's a part I'd love to play, so much more than a character who is heroic and one-dimensional.
The thought manifests as the word. The word manifests as the deed. The deed develops into habit. And the habit hardens into character. So watch the thought and its ways with care. And let it spring from love, born out of concern for all beings.
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.
A dissolute character is more dissolute in thought than in deed. And the same is true of violence. Our violence in word and deed is but a feeble echo of the surging violence of thought in us.
Shows like 'Empire'... one of the most profound powerful things is that there's a gay male character who is loved. That character is going to save a lot of people's lives. Black families are confronting the idea that a gay black character can be human.
When you work on a pre-existing character, when you end up getting invited to be part of a legacy character like Superman, I don't feel like it would be true to the character if all I did was go in looking to express my own voice.
Every thought which enters the mind, every word we utter, every deed we perform, makes its impression upon the inmost fiber of our being and the result of these impressions is our character. The study of books, of music, or of the fine arts is not essential to a lofty character. It rests with the worker whether a rude piece of marble shall be squared into a horse-block or carved into an Apollo, a Psyche, or a Venus di Milo. It is yours, if you choose, to develop a spiritual form more beautiful than any of these, instinct with immortal life, refulgent with all the glory of character.
Humanity had to inflict terrible injuries on itself before the self, the identical, purpose-directed, masculine character of human beings was created, and something of this process is repeated in every childhood.
The character of human life, like the character of the human condition, like the character of all life, is "ambiguity": the inseparable mixture of good and evil, the true and false, the creative and destructive forces-both individual and social.
I really took it in-house. The Constantine character has a kind of flesh-and-blood practical look at things that would seem, other people would use the word, occult or spiritual. But here, demons are real. So for me it was more taking it from the film itself. I didn't really need to go outside the piece itself to inform me because the perspective on it, what the character does, was provided by the script.
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.
This word "redemption," what is it about this word? Is it tangible? Do you know when it has happened? Is it necessary in a drama? Does it make a character boring? Does everyone agree on a character being "redeemed?" Or is it a word that is so subjective and polarizing and insignificant in modern television? It is a word that has been given, quite possibly, far too much significance, when it is truly ambiguous and meaningless in a drama. I have personally grown to loathe that word in literature.
A woman can be demure, lady-like and the most prim and proper character, and still have a toughness and resiliency as apparent as a superhero-type female character or a warrior or soldier type. It's all about the story, the character, and the course of events in that piece of work and how that character is presented.
In 'Road,' my character is linear and uni-dimensional. It was more of a reacting character. I am a foil to the other characters in the film. It is the most normal character in the most abnormal, extraordinary film.
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