I don't want to be stuck to one character. I think that's what can happen when you take on a superhero movie.
I like superheroes who are very human and underdog. That's why I relate to my character in 'A Flying Jatt': because he is a very normal person and very human. He was very unsure about his super powers; he didn't know how to use them. He is scared of heights, speed. Especially he is scared of his mom, but he has to listen to her.
In 'The Grandmaster,' I had a supporting role, but my character in 'The Crossing' is much more central to the plot.
My approach to the work is the same, whether I had the lead or a supporting role. I consider myself a character actor in the true sense of the word. Unless I'm doing my autobiography, I'm playing a character.
I am the character you are not supposed to like.
One of the great pleasures of acting is surrendering to someone else's point of view of the world - living inside a character and a story that never would have come out of your mind or heart.
Nothing goes further toward a man's liberation than the act of surviving his need for character.
Somehow I kept my head above water. I relied on the discipline, character, and strength that I had started to develop as that little girl in her first swimming pool.
I love character actors. If I'm switching channels, and something with Slim Pickens is on, or Walter Brennan, I'm stuck. I have to watch it.
I'm on fire when I'm singing, I'm completely in character, I use my sense memories, and every syllable of it is meant. It's a very special thing.
On the last drafts, I focus on the words themselves, including the rub of vowels and consonants, stressed and unstressed syllables. Yet even at this stage I'm often surprised. A different ending or a new character shows up and I'm back to where I began, letting the story happen, just trying to stay out of the way.
No actor can play a villain if they don't sympathise with him or her - otherwise the character just becomes a two-dimensional caricature.
There are many wonderful orchestras in the world, but very few who have a character or personality of their own. The Chicago Symphony Orchestra is one of them, and I think it very important to recognize and respect that character.
I think that drag, being mainstream, it's such a wonderful thing because even my sister, years ago, they thought it was so taboo and didn't understand it, or maybe they thought, 'Justin, do you want to be a woman?' and I'm like, 'No, Alyssa's my character.'
You want to be able to really tackle a character and make it a fully-dimensional human being who is complicated, funny, and all the things that a person could be. If you can achieve that, you feel great. You so rarely get to do that as an actress in general, but as a black actress, it's almost never.
I wouldn't be able to tackle a character like Rosalee on 'Underground' without having tackled the many characters I've played before.
I know that my way of tackling a character is very different.
Miranda is extremely tacky. I personally want to edit my videos well, but I have to keep Miranda's character in mind, so there are bad angles, flashy cuts, and sparkles everywhere.
There are so many examples of talented actors working today, no matter how they live their private lives. I'm lucky that people believe me when I'm in character.
I really enjoyed playing Vinny Vedecci, the Italian talk show host. He was the first character I ever came up with where I gave him a name and a way of dressing.
