A Quote by Steven Wilson
Ultimately, I don't think you can be a character who's completely alien or divorced from your own personality. It's probably true of every writer - it's probably true of every filmmaker, every songwriter - that, ultimately, every character you create is a facet of yourself.
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I believe in the fact that to portray a character convincingly, you need to live that character, own that character. You have to be earnest with every line that you deliver. However, it doesn't mean that you have to cut off your true self.
But the same thing was true in the army. You slept in a barracks with all kinds of people of every nationality, every trade, every character and quality you can imagine, and that was a good experience.
Every character that I play, even if it's a homemaker, there is an inherent, innate strength in her - you can find strength in every facet of a female personality. It doesn't just come from the physical strength of a woman.
I think every woman character, every female character, has her own arc.
I think every opportunity, every disappointment, every rejection, every accolade... everything has contributed in shaping my character and my choices and who I have become.
Ultimately, I'd like to create a body of work where every album has its own personality and a reason to exist within the catalog, not just 'more of the same.'
The quality of success you will experience in your life ultimately depends upon the tiny choices you make every minute of every hour of every day.
Look - this is the terror of being a founder & CEO. It is all your fault. Every decision, every person you hire, every dumb thing you buy or do - ultimately, you're at the end.
Life should be lived on the edge of life. You have to exercise rebellion: to refuse to tape yourself to rules, to refuse your own success, to refuse to repeat yourself, to see every day, every year, every idea as a true challenge - and then you are going to live your life on a tightrope.
Every essay - the subject matter of every essay - is ultimately about the essayist; him or herself. That ultimately, every essayist is writing about his or her view of the world.
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.
Every temptation that is resisted, every evil thought that is curbed, every desire that is subdued, every bitter word that is withheld, every noble aspiration that is encouraged, every sublime thought that is cultivated, adds to the development of will-force, good character, and attainment of eternal bliss and immortality.
Every character is a baby. You can't choose between them. If you can, you didn't do your job. You have to fall in love with every character.
Every character I do is something special to me. Every time you score with a great character relationship in a movie, it becomes your baby.
There's this sense of being strange, which is at the heart of every creative person. Every writer, every actor, every director knows who Ripley is. We've made careers and lives out of pretending, making things up, inhabiting other people's stories and lives. That's what I do every day. . . . The story is so audacious and subversive: a central character who behaves badly and isn't apparently caught. That intrigued me no end.
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.
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