Alexis Bledel Quotes

It was new to play a woman who plays with her sincerity, and who is a seductress, a manipulator and a liar! I was able to compose a character as opposed to being very natural, so it was very interesting for me. It was great to realise that I could be this kind of real woman!

I love playing confused, broken characters.

Every paragraph should accomplish two goals: advance the story, and develop your characters as complex human beings.

Theresa Rebeck's writing is so scarily funny. I just love how unapologetic she is with her writing: she doesn't try to make her characters likeable or heroic, she just really makes them human. Hopefully, the audience is able to love them in the end - or have whatever feelings that they want to have about all of them - but I love that she doesn't have that agenda. That is something that, as an actress, was really appealing to me; to just get to be in this group of people who are complicated and very human.

I enjoy bringing humanity to complex characters.

You want everyone to be a full character. No one is just evil, or very few people are, hopefully. They're characters, so you want to flush them out. You've got to show all sides of them. There is definitely an antagonistic relationship between guards and prisoners, and I do think it flares up.

I think real humans are so complicated, and often [characters] are written more one-dimensional without maybe even the writer knowing it. I've felt numerous moments in my life where my most confident moment and my most insecure moment were exactly the same time. There's nothing funny or interesting about perfection.

I suppose that the sympathetic/unsympathetic debate about characters sometimes feels to me like a misstatement of purpose. I always think of truly complex characters are falling between the cracks in that debate.

You rarely get a tentpole that has this much emotional depth, this much character to dive into.

If there is no possibility for change in a character, we have no interest in him.

For a great nature, it is a happiness to escape a religious training; religion of character is so apt to be invaded.

I felt so much when I was fifteen, sixteen, seventeen, I felt everything. I didn't understand [myself], I was so happy yet so angry and sad. That was the point when I realized that I needed to tell stories and make characters come alive and I needed to make people cry, and make people angry, and make people happy, and make them laugh.

If you're going to play strength, you've got to marry that with a vulnerability and give your character some relatable qualities.

Thus strength is afforded by good and thorough customs, thus is learnt the subjection of the individual, and strenuousness of character becomes a birth gift and afterwards is fostered as a habit.

Character is the plot in many ways

I personally kind of yearn to play characters who are complex and who strike a truthful chord in me and who are challenged in some way and, I guess, who kind of move through those challenges.

Ultimately, all characters have some negative and positive energies. That's just how I see it. I didn't go out looking for negative characters; I went out looking for people who have a struggle and a fight to tackle. That's what interests me.

I like to think that even with some of the more intense ones sometimes there is humour in there, you try to make a complete human being, whether the guy is good or bad.

The value of culture is its effect on character. It avails nothing unless it ennobles and strengthens that. Its use is for life. Its aim is not beauty but goodness.

I love characters that are going through turmoil. To be honest, I love characters with conflict. I love characters who are really going through an emotional journey; whether it's a super-dark-crazy journey or a really relatable guy.

Money makes people rich; it is a fallacy to think it makes them better, or even that it makes them worse. People are what they do, and what they leave behind.

For big Hollywood movies, I'm on the more character-driven side of the equation. So, TV is a natural place for me to be because you've got no choice, but to be character-driven.

You lose somebody you've possibly known for years and on top of that you lose a character that you love seeing on TV so I think that kind of makes it cool that we pay a price too. That it is painful on many levels and its amazing to be writing that moment and crossing that line right on the page and seeing the ugliness of it and having to deal with it. It's a very weird thing.

Character is what someone does, much more than who they are. I can be sarcastic or I can be fearful, but it doesn't really matter until there's a story - until someone comes in and holds us hostage.

The recipe for any character is always very interesting, as far as what doses of certain qualities you want.