People can be incredibly proprietary about Superman. They think that the character belongs to them.
It's an interesting but useless bit of information that every single character in 'The Lord of the Rings' and 'The Hobbit' wears a wig, and many of them wears a prosthetic - false ears, feet, hands. In my case, nose.
I'm drawn particularly to stories that evolve out of the character of the protagonist.
The 'Black Panther' series was never really about the Black Panther at all. The State Department guy, Everett K. Ross, was the series protagonist, so politics was simply a logical part of the character's tool set.
I'm more comfortable writing traditional protagonists. But 'Steve Jobs' and 'The Social Network' have antiheroes. I like to write antiheroes as if they're making their case to God about why they should be allowed into heaven. I have to find something in that character that is like me and write to that.
I'm a character and a sports entertainer and a wrestler, but I'm also a father and a husband and a provider.
I hate the analyzing thing. People say, 'Why do you think your character did that? I don't know. I'm not an analyst, and they're not in psychotherapy. Unless it's a film where they're in therapy.
Cigarettes are an instant signifier in culture. It punctuates a joke, or puts that extra zing on a punch line. I like them as a prop. I think it can be really useful for character and texture and contrast and all of that.
I am very aware that playwrights, particularly good ones, have a intention for everything they write. Language and punctuation is used specifically, and most of the time actors can find wonderful clues about character in the rhythm and cadence of the language used.
This is what I would say to my pupil: 'You have become only your fame and left behind most of who you were. How are you going to deal with that? Will you lose that person forever? Have you become someone else without really knowing it? Do you always have to stay in character for people to like you? Do you know that you are in character?'.
I don't think a lot of actors talk about it, but there's usually a process where you essentially purge yourself of the character that you played prior to the movie. That's the first thing. You want to do it.
We have that illusion that we are 'deciding' what to make a character do, in order to 'convey our message' or something like that. But, at least in my experience, you are often more like a river-rafting guide who's been paid a bonus to purposely steer your clients into the roughest possible water.
I'm looking for the best person irregardless of political party, of race or religion, or color of their skin. Those things don't matter to me. I want someone who's qualified, who has a qualification to character and the integrity to do the things that have to be done to save this world.
I would return to the Blackadder character if the opportunity came up. I have no qualms about that at all.
Actually, my character needs to be questioned. On a regular basis. By people who know and love me.
A different script calls for different things. It always takes me a long time to get to know the part, and know the logic behind the words. I have to be with the script for quite a long time before things start to fall into place, before they become part of the character.
The strange thing is, if I was speaking to drama students about the thing that you should do if you're lucky enough to know or to meet the character that you're playing, I'd say, 'It's obvious: you quiz them diligently about their experience.'
That's part of my military character, I think. You back one of us into a corner, and you can only expect one thing: us coming at you like wild, rabid dogs.
I do feel there is a very rabid young base for 'Black Mirror' that will very much identify with the daughter character because of the invasiveness they feel with their parents trying to control their moves on social media.
Typecasting is really rampant in Hollywood, and because I played a costumed character and did it successfully, it was a real stigma.
