Beth Grant Quotes

I'm big and a lot of the stars are smaller so if you're big and mean looking, you play bad guys. After Blade Runner, I was the meanest guy in Hollywood.

There are 100,000 versions of Jeff Goldblum.

As an actor, I always feel that each and every character in my films has to be distinct. The character Thilak that I play in 'Kavan' will be one such unique role in my career.

One must never comment as an actor, never show that a character is shallow or vindictive, but let that be conveyed. I mean, none of us thinks of ourselves as being vindictive or shallow - perhaps we should.

Patrick Swayze had done The Outsiders already - he was certainly the star of our class - and for a big, sexy, horseback-ridin' Texan to come over and tell me that I'm beautiful, and look me right in the eye and make me accept that there's a beauty in the characters I play meant so much to me.

I don't intentionally try to find the scripts with unattractive characters, but I think that if a character is described in a script as heart-stoppingly beautiful, and there's nothing else said about her, it just doesn't hold a lot of interest for me.

I honestly think vulnerability is a beautiful thing: it's tenderness, authenticity, and risk-taking. It means you're living a life where the stakes are high and you are continuing to push your own boundaries and learn new things. It keeps you flexible and young.

Just because you are a character doesn't mean you have character.

Sometimes I can inhabit a feisty, vicious character. Sometimes I can inhabit a painfully shy British girl, or whatever it might be. I'm able to step into these other parts of myself. I feel like, as long as I keep doing that in my career, and I keep tapping into different parts of the human condition, that's all I ask for.

I'm not much of a Method actress, so even though my character in The Ghost Writer was quite dark and bad-tempered, I could only do that if I was seeming quite perky.

The Russian famous actors involved [into The Darkest Hour], they are very creative and they will create sympathetic characters.

So perhaps the correct conclusion is that Green was less attuned to how people sound when they speak - the actual words and expressions they employ - than to what they mean. This notion of dialogue as a pure expression of character that...transcends the specifics of time and place may be partly why the conversations in the works of writers such as Austen and Bronte often sound fresh and astonishingly contemporary.

I've tried the female thing. I was in a movie called Dinner for Schmucks a couple of years ago with Steve Carell and I created a female character for that movie. And after a few months of trying her out on the road it just didn't work. I mean, I can think like a terrorist, I can think like a white trash guy, I can even try and think like an African American, but I can't figure out how a woman.

It's fun to play a character when you can't concern yourself with how sympathetic they are.

If you've got more ambiguous characters or stock stereotypes, the plastic comes through and they don't work as well.

We just, you know, we're just sort of doing it like Bewitched, because we just think that the character of Kenny is so specific and so outrageous and so fun. And by far the hardest character to cast out of everybody to find someone who was capable of, you know, doing, you know, the comedy and just with the broadness and to be also just a really brilliant actor, you know, to do naturalism.

To say that Agatha Christie’s characters are cardboard cut-outs is an insult to cardboard cut-outs.

As the actor, you just have to believe in what your character is doing in order to play them.

I know it's boring to say this but I always start with the script. I mean if it's well written and it's a character that I haven't necessarily played before.

I think bringing depth to characters means really needing to find out who this girl is, what is she passionate about, what makes her tick, what gets her going in life. So I did a lot of backstory for who she was and sometimes it comes across screen and sometimes it doesn't. You never know, because you're not the director, but you can only do your work and hope that it somehow subtly is infiltrated in that. But I think the characters I've played for the most part have depth, just not in the way that you think they do.

I'm hesitant to do leading man character roles because I think they can be a little boring in terms of needing to be the everyman who navigates the amazing stuff around them.

All that matters to me as a reader are characters. I want characters to be real, authentic, and rounded. I will be digging into characters for at least a month. Who they are. What they are like. Outside of the story.

I don't know. I always love to find where a character's heart is, and by that I mean where they're intrinsically vulnerable, and to bring that out in myself.

I told my friend - we were working on a movie together - and he gave me a script and asked me to give him notes. And they were all male characters, and I said, "You know what would make this character more interesting?" And he asked what - and it's this road trip between three guys, basically, one older man, one 30-year-old and a 13-year-old mechanic. And I said, "If you make the 13-year-old a girl, and you make her an Indian-American mechanic." And he said, "What do you mean?" And I said, "Yeah, don't change anything in the script about him, and just make it a her."

When I go into making a movie, personally, I don't try to bring other pieces of movies with me. I think that finding a character, relating to her and making her as real as possible means forgetting all of that stuff and just trying to find the truth, in that particular character's words.