Adam Driver Quotes

I think for everyone it's good to have your own personal work on a character and a film before you even start rehearsing, to have an inner life.

As an actor, you want to be able to move your character forward into new ground, but also it's really interesting to go backwards and unpeel those layers and the interesting elements of what your character is and what informs the decisions that you make so that you can have as much meat to work with.

I honestly feel it is important for a director to get obsessed with the characters.

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.

I think it's important that a director be able to know his characters inside and out.

'Longmire' is more of a show about the characters, and you couldn't pay a bigger compliment than to want to know more about my character, or the characters on the show.

I do build my own backstory as an actor. It's important to know where your characters have come from in order to know where they're going - in order to exist in that state of being.

I don't use recurring characters. I do get very interested in my characters while I'm working with them, and I find the process of fitting them into a story, and allowing them to create the story around themselves, fascinating. But no, I don't imagine they have a life outside of what I make for them.

What fascinates me as a writer is the stuff underneath, To me, what drives a novel is the curiosity behind the character and the depths that you want to find in that character.

Often the starting point for characters, for me, is finding a little, most minor detail, and I'll go from there.

When you begin a play, you're going to have to spend a lot of time with those characters, so those characters are going to have to be rich enough that you want to take a very long journey with them. That's how I begin thinking about what I want to write about and who I want to write about.

I love spending time researching a character and reading about them.

Whenever you have a role where you don't get to know anything about the character, you have to invent it yourself. You have to feel like it came from somewhere.

I have a very schoolish approach to acting. I like to do my homework, know more about the character, and study it. It's all about the craft.

From a writer's standpoint, each character and story presents its own unique challenges and delights. I'm deeply curious about all of my characters, and I love peeling away their layers to see what's underneath their skin, or secreted deep within their hearts.

The first thing I do when I read a part is see if I can identify emotionally with a character. If I make that connection, everything else is just working on knowing their life circumstances and manifesting those through practice and research.

Sometimes the director will want you to write about the character, sometimes he'll want you to live in the location that the character is from or something like that, but I don't usually make a lot of notes or anything like that.

You try to get to know your character as best as you can before you start filming - what's written and not written.

I locate that special problem in a character and then try to understand it. That's the genesis of all my work.

I don't really ever think about whether or not I like the characters I'm playing. I'm more into the minutiae of their behaviour or what they're doing in a certain scene.

When I get a role, I try to delve as deeply as possible into the character.

The most I could hope for is to come and try and develop a character who is interesting, who is interesting to me, who is interesting to fans and who could contribute to the storytelling that is 'Law & Order: SVU.'

Also, in my acting, I feel very much like a storyteller, exploring the flaws of the characters that I interpret. I look for the imperfections, and I love a character that is just so flawed.

My school of thought with going into a character is that you have to understand where they come from, and you have to empathize with them.

If you give a character room to breathe, they come alive.