Jason Patric Quotes

I am fine playing 'Law & Order' and even the 'Jurassic' movies to be straight up, as far as the characters being portrayed there, but I never want to stay in straight-up land too long. I always wanted to do something where the character's world gets to be explored.

It's nice to create a character, not just within two scenes, but within the journey of a whole movie. It's fun to do that.

With 'Richard,' I was excited to make this film with such an amazing role for an actor. Play a wide range of emotion and really invest myself in the character.

I've often said the reader knows every bit as much about Thorne as I do. When I created him for 'Sleepyhead,' I was determined he should be a character who would develop, book by book, change and grow as we all do, and who - crucially - would be unpredictable.

A lot of times, scripts are written so the character is all one way. Even with 'Bringing Out the Dead,' the character was written a little more generic.

Every actor wants to have a character that changes, that has some kind of movement, that gets from point A to point B, that doesn't just supply one note.

The life of a character doesn't just exist between action and cut.

I think often times on Joss Whedon's shows he can make you hate a character for a period and then love the character. He does it effortlessly.

I think the ultimate thing in some ways for any writer is to work on a character who's going to have a life for a long time.

When you can have a character that the audience likes from the beginning, but then you put them in a situation where they grow - I think that gives it a lot of heart.

I kind of thought the writers were starting to take Taylor and make her kind of down and dirty.

For me to have the opportunity to stay with one character for, God willing, a long period of time, is really exciting.

I love playing Blair Cramer, and I'm thrilled to see what more they have in store for her. After playing this role for so many years, I still feel like there is so much about her that is still untold.

As you do on any cable series, if they introduce you as the villain, then you better start working towards making him a really good guy, or if they introduce you as a really good guy, then you better start working towards being the villain. Your character has to go somewhere, or else they become very uninteresting.

I think people need to understand the amount of emotions I can pull off. I want films I'm offered to have these dimensions.

I build my characters from the day they're born to the first page of the script.

In film, because you know where the ending is, characters can change, but in television, you substitute revelation for change, and that can be hard to pull off.

But I guess I like playing flawed guys 'cause it gives a place for the characters to go.

In a series, you really need to stay open-minded. It's not like a play or a film, where you can create and fully commit to your character's back-story.

The world is full of novels in which characters simply say and do. There are certainly legitimate genres in which this is sufficient. But in real and lasting writing the character is.

I like my characters to be ones I think about long after I've finished reading the script.

I think what good television does well is that it shows characters evolving.

My character on 'The Good Wife' is a smaller character, and his story arcs are typically season-long, unless it's a big episode for him. His transitions take place over many, many hours.

There is always that thought that you might get stuck with a character. But there's always the notion that every character is always evolving.

I'd never really been in a series, where you see a man at different points and perspectives in his life. Usually it's a film, where I'm playing a character who just comes in and offers something up.