A Quote by Travis Knight
While you're testing out armatures of puppets, you're also trying to find the proper visual vocabulary for the character and to come up with a guidebook of sorts for how a character will move and act.
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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.
Every character I've had in my act - none of them have a similar creation story. I actually thought up Peanut and designed him in my head. I described him to a woman that was making soft puppets and she drew up some sketches. And the character came to be just because he popped into my head.
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.
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
We shouldn't confuse singers and performers with actors. Actors will say, "My character this, and my character that." Like beating a dead horse. Who cares about the character? Just get up and act. You don't have to explain it to me.
I admire men of character and I judge character not by how men deal with their superiors, but mostly how they deal with their subordinates. And that, to me, is where you find out what the character of a man is.
I don't really try to judge any character that I play, afterwards I figure it out, but while I'm working on the character, I have to find something in them to relate to.
When writers don't know what to do with a character, they build up the supporting cast and universe to kind of hide that fact. After a while, you can no longer see the character for the underbrush. When that happens, you need to bring out the weed-whacker to clear some of that away so you can focus on the main character.
Playing Mark Antony in 'Rome' will always be a favourite of mine because he was such an outrageously big and interesting character to play. Also, the fact that we were able, with that character, to find out and present the public with a biography of that man that had not been really seen before.
We're also irreverent, we have an irreverent attitude towards puppets, as well. So a lot of what we do is we're kind of making fun of the puppets for being puppets, even while we're doing it. And again, that all feeds into the absurdity of this show.
Bond is a classic archetype character, a character that's embedded in our heads forever, one of a lone warrior setting out to avenge a nation - and you find that character across cultures.
I love to see how a character unfolds off the page in a project. I don't always know how the character is going to turn out, even with the script being there. It's not always clear where that character is going to take me. Or where I will take them.
If you think of the people who are funny in your life, you'll note it's not because they tell jokes, it's because of their character. If you develop characters, then you'll know them, and you'll know how they'll speak. The comedy will come out of the character.
One of the rules that I always follow is that no matter how crazy characters may act, and no matter how absurd or strange their actions may be, that it's justified in the character's mind why they are doing it. Not to get all heady about it, but it's fun for me to test how far I can go with things while still keeping it grounded enough that you believe that the character really believes that what he's doing will get him what he wants. It's a personal challenge to me to see how far I can go with that.
It's strange how the mind works while you're acting, because you have all sorts of quick thoughts going on as well as the motivations with the character.
I had no idea what I was signing up for. I auditioned for some random character. I knew the sides were fake, but what they were trying to capture was an emotional toughness and a woundedness. I knew I liked the character. I didn't know who the character was, but I liked the spirit of the character.
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