A Quote by Rowan Atkinson

I think in many ways Johnny English is a more believable character. — © Rowan Atkinson
I think in many ways Johnny English is a more believable character.
When I play a gay character, I want to be as believable as possible. And when I'm playing a straight character, I also want to be as believable as possible. So the less that people know about my personal life, the more believable I can be as a character.
This African American Vernacular English shares most of its grammar and vocabulary with other dialects of English. But it is distinct in many ways, and it is more different from standard English than any other dialect spoken in continental North America.
I do voices. I can sound like a man or cartoon character. I also have very believable Spanish and English accents.
One of my jobs as an actor, regardless of who I play - even if I'm playing a despicable character - is to make people think that that character could exist, that he's real, and the way to do that is to make him believable. He doesn't have to be likable or charming, but he just has to be believable. That is someone who I could see on a bus. That is someone who I could walk past in the street.
Now what's important is that they have an attitude. Everybody has a look, but not everybody has cultivated what their stage persona is. And so when you're dealing with actors, it just makes it more difficult, because you have to help them come up with one. You know, Johnny Depp has no Johnny Depp character when he's onstage. You haven't seen An Evening With Johnny Depp at Carnegie Hall.
You have a lot more leeway to be contradictory playing a character than most of the scripts have in them. That's how all actors are. We have so many different sides of ourselves and we're so different, in meeting with different people. The audiences relate more to that and find that more believable.
'One Day' is definitely heartbreaking in a few ways, but one of the main ways is that my character and Jim Sturgess's character are just people from two different worlds who love each other in so many ways and can't quite seem to get it together.
There's different ways of getting into character. There's what's called 'the outside,' in which is finding the physicality of the character first. To give an example, in 'Gettin' Square' - Johnny Spitieri - that's how I found that character. I knew those people that I'd seen up at Kings Cross. I knew how they sounded.
Johnny Nitro was like Johnny Hollywood, Johnny Danger, Johnny Blaze... it's just an obvious stage, Hollywood name. But John Morrison is more like a real person.
I pulled the Johnny character from the Jamaican Johnny Too Bad thing.
I don't own any of these names. I don't own Johnny World, Johnny Mundo, John Morrison, Johnny Nitro, Johnny Blaze or Johnny Impact. None of it.
Even though Lyndon Johnson's presidency was in many ways scarred forever by the war in Vietnam, and destroyed in a lot of ways, he - as a character - was even larger than his presidency. Being able to get to know him well, that firsthand relationship with this large character, I think is what drew me to writing books about presidents.
Character in many ways is everything in leadership. It is made up of many things, but I would say character is really integrity.
Among its many other obligations, fiction always has to be believable. Life does not have to suffer such constraint, and much of what takes place is believable only because it happens.
I don't have many heroes. Very plain and simply, Johnny Unitas was one of my heroes. When you think of Baltimore, you think of Johnny Unitas.
I think in many ways, I'm sort of a blank canvas, because in many ways, I'm just observing the world and the people around me and their characters and letting them kind of explode off me and to find out why they're doing what they're doing. But then every once in awhile, I get to take on a whole new character.
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