A Quote by Viola Davis

Flashy characters are more entertaining to people because you get it. You don't have to work to get someone who says what they mean and says what they think. They're out there. It's harder to play a quiet character because everything happens in their stream of consciousness.
It's harder to play a quiet character because everything happens in their stream of consciousness. They're thinking and feeling the world, but they're saying very little, so then you have to communicate it through your behavior.
Even if I do get stereotyped, I would like to think that it is more of a challenge because if you are given one character and asked to play in 10 different ways, it says more about me as an actor.
Okay, everyone please be completely quiet, because I can literally hear a whisper, and it’ll throw off my stream of consciousness, and when I get my stream of consciousness going that’s when I give the best, illest quotes. Literally, a whisper can throw it off.
So, here’s what you do. You win, you go home. She can’t turn you down then, eh?” says Caesar encouragingly. “I don’t think it’s going to work out. Winning…won’t help in my case,” says Peeta. “Why ever not?” says Caesar, mystified. Peeta blushes beet red and stammers out. “Because…because…she came here with me.
TV becomes easier because you get to spend time with that character. It's going to go on for a while, and the more you know something, the easier it becomes, the less nerves you have about it, and the better it is for improv because you have that camaraderie between cast regulars. In film, it's harder because you got to get in and get out.
Every character I play is straight, which is unique, my agent says, because it's not really been done before that someone who is completely out is able to play straight roles.
People, you know, had trouble with the character. Mindy is not immediately likeable. She does and says a lot of things that you don't see in, forget female characters, any characters. Like, she says things like, "I'm going to hell because I don't really care about the environment and I love to gossip."
I love the supporting characters because you get to do more, to be totally honest. It's been sort of a theme with me. In Son of No One, I think I might have seven lines in the entire movie because everything is happening to my character.
Because sometimes there's more worth in silence than noise. Sometimes everything you need to know is contained in that small quiet space. Sometimes we get so caught up in distraction and noise and seeking other people's approval we forget the quiet seed of truth that lives in our hearts. But just because we fail to tune in to it, doesn't mean it's not there.
When I look in the mirror, I see someone who's happy with how he looks, because I was never one of the handsome Hollywood people. And I've had success as I've gotten older, because I'm able to play characters. I no longer get the girl, but I get the part.
"Katniss?" He drops my hand and I take a step, as if to catch my balance. "It was all for the Games," Peeta says. "How you acted." "Not all of it," I say, tightly holding onto my flowers. "Then how much? No, forget that. I guess the real question is what's going to be left when we get home?" he says. "I don't know. The closer we get to District Twelve, the more confused I get," I say. He waits, for further explanation, but none's forthcoming. "Well, let me know when you work it out," he says, and the pain in his voice is palpable.
Fertility says, "Can you relax and just let things happen?" I ask, does she mean, like disasters, like pain, like misery? Can I just let all that happen? "And Joy," she says, "and Serenity, and Happiness, and Contentment." She says all the wings of the Columbia Memorial Mausoleum. "You don't have to control everything," she says. "You can't control everything." But you can be ready for disaster. A sign goes by saying, Buckle Up. "If you worry about disaster all of the time, that's what you are going to get," Fertility says.
In wrestling there are so many people inside and outside the ring, and it's so live, and it's this whole adrenaline thing. Whereas you move it into this more intimate thing, everything gets all quiet, someone says action, and you have to say the lines and make the words your own. It couldn't be any more different and it's weird sometimes trying to explain that to people. When I tell people that acting is much more terrifying to me than going out in front of ten thousand people, they don't quite believe it because for some reason that intimacy is just terrifying to me.
I think that comes with a collaboration with the writers. I think that we get cast in edgier roles because we are a little more offbeat, so people - as we get to know the writers, and as the writers get to know us, they start to write around us more, and that's why I think the pilot is not always the best way to get to experience a new television show, because we're fitting ourselves into these characters. Whereas as the show evolves, they're writing the characters for us and for our strengths and weaknesses.
I know, I say, after he says, This is hard, for the third time. This is what happens when you have a TRM, I tell him. You make a mess. It's okay. You just have to try harder next time. I am trying hard, Dad says. I know. You get a sticker. Thank you. Okay. You get another sticker for being polite.
The characters I tend to play are a little more interesting than the standard heroes. Romantic leads can be a little more straightforward, I guess. But it just seems to be the parts I get, I don't know what that says about me. I enjoy interesting characters and interesting people, I suppose.
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