Victoria Aveyard Quotes

I like taking a character at the most intense moments of their lives and exploring all that in full and then moving on.

I like stories where there's a center that's mushy and complicated.

I was a little bit wary of playing Nicholas. In the script, which I think is true of the novel and the film, he's the only character not singing and dancing in a musical style. Playing someone who is the personification of good is a little difficult.

Loki in 'Thor' is the most incredible springboard into a sort of excavation of the darker aspects of human nature. So that was thrilling, coming back knowing that I'd built the boat and now I could set sail into choppier waters.

With any role I play, I find out what the human problem is first.

I'd never played a cop before, and this particular role with what she is going thru, especially during the first season, covering her alcoholism to her on the job performance, was a great opportunity for me as an actress.

My favorite part about working in theater is the rehearsal process. I absolutely love the rehearsal process. Working out the characters, figuring the character out, and the relationships between the different characters. I love all of that, which, unfortunately in film, you get very little opportunity to have.

The movies and TV shows I like to watch tend to put their characters in situations where they have to dig deeper.

You spend so much time developing a character when you do a film; so much of your work is done before you get set to shoot because you've been working on the character: the way he walks, the way he talks, what might upset him, what might make him happy.

It's hard to hold the focus that strongly on a single character for that long.

I think any character has to be well-rounded, whether they are male or female - they have to be complex and make choices that maybe we don't agree with, you know? I guess that's what makes them human.

The scene is never really about moving the story forward on 'Breaking Bad.' That's the functional veneer of the scene, but it's always about what's going on with the characters.

I love to evoke the bones and meat and thoughts of characters.

I like roles of people who can overcome things because there's strength in that and an arc - and roles where they start in one place, and toward the end of the script they end up in a completely different place, so you've seen this growth and some humanity in the role.

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.

In general, I am more interested in the darker characters when I watch or read stories.

The loveliest roles, for me, have a growth arc - a beginning, a middle, and an end - and I'm always grateful when I can find one of those emotional journeys.

A character on stage who can present no convincing argument or information as to his past experience, his present behaviour or his aspirations, nor give a comprehensive analysis of his motives, is as legitimate and as worthy of attention as one who, alarmingly, can do all these things.

If you can find a way your character moves, you know more about your character than you'd ever dream.

I think Ada in 'The Piano' is the most interior character I've ever had the chance to play, either on the stage or in anything I've done for film or TV.

With a film, you just don't have time to build sympathy for the character. But I think we're moving away from that in TV. With TV, you have a little more leeway to allow them to rise and fall and rise again and be much more complicated beings.

I think the challenge for me in this role is going to be, is there any heart in Negan? For me, I look at that as a challenge as an actor, and that's the kind of thing that I embrace and really look forward to.

For the most part, romance is written in third person, and it's written in multiple points of view, so you're in the hero's head, and you're in the heroine's head. I've always said that I'm more of a narrator than a creator.

If your character is just out there acting a fool, viewers are gonna say, 'Why am I watching this?' But if he's whispering, 'I don't really want to die,' there's a level of vulnerability cemented in these bad characters.

I've never read a script in which you are actively pulling for the protagonist in the beginning, but little by little, you lose that.