A Quote by Tilda Swinton

I always think of the word 'abandonment' when I think of the character. — © Tilda Swinton
I always think of the word 'abandonment' when I think of the character.
I cannot think of a single word to describe what we feel. I think we all feel it, to varying degrees. Perhaps in some other language there is a word for 'the world is terribly wrong.' That feeling of stun and unbelief and abandonment and shock and horror and distress.
I think successful movies that are based on books are their own thing. I think if you're too faithful, word by word, character trait to character trait, it can hurt the movie.
I think everything you do, characters I always find, have their own voices and once you establish who that character is you find a different voice. I think it's just a question of establishing that character and the voice speaks through that character.
I think anyone loves to play a character that is either evil to a certain extent or has a real definable character flaw. Those are always really fun, and, I think, funny.
I always think I could do better. I always think that something could be more perfect, but I think that that's just within my nature. I think I want to please a director, I want to give my everything and find every which way I could have burrowed further into a character.
Even in my comedies, I don't take anger as a joke. I think anger and laughter are very close to each other, when you think about it. One of the things I like about a character: I always think it's fascinating when a character can turn on a dime and go from one emotion to another. I like watching that.
I think it always helps when you build a character, and then, you actually step into that character's wardrobe, something else happens. Another angle of the character comes to life.
I think I think in the moment. So when I'm in character, I'm in character, and I'm obviously thinking about what's going on around me, but it's easier to do stuff when you're in character.
I always think change is important in a character. The most dynamic choices that you can make for a character are always the best ones.
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 just really like the characte [Jasper Hale], and I love the story [Twiglight], I think it's a very strong character and I respect him. It's interesting; I respect the character that I play. I don't understand it, but I do. That's a good thing. I think so, I think so. I never felt like that before with a character.
I think if you play a character that is fearless, then it's boring. I think that's what was so incredible about Harrison Ford, is that he always seemed like he was never going to survive it, he's always scared, and yet he always does survive it somehow.
I think culture is a big word for corporate character.
Her mother died at the age of 29, essentially turning her face to the wall and deciding to die. And so we can only imagine the agony she felt. And Eleanor Roosevelt really wanted to make her mother happier, and - and to make her live, you know, make her want to live. And there's something about, you know, when your mother dies, this sense of abandonment. I think Eleanor Roosevelt had a lifelong fear of abandonment and sense of abandonment after her parents' death.
The leading character isn't always the most important or interesting character; when people think that the protagonist is the character portrayed, it's people who haven't read Shakespeare.
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.
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