Robert Pattinson Quotes

One never wants to do anything that's going to break that 'sculpture of the character' that's been done so far, or make anything that's been done so far become illogical in any way, so you always want to try to connect when you're doing a series of films that has a continuous character.

That's kind of my ideal sequel - a movie that continues the story, takes one character and moves on, and moves forward with that character that survived with the first one.

The toughest part of acting is never a single thing. It's more like a whole character. I find film really difficult - trying to make it feel like a consistent character when you're filming everything out of order.

The advantage of literature over life is that its characters are clearly defined, and act consistently.

I always try doing a different character for every film so it's not just changing one.

While there are things with this job that remain constant, in terms of how you shoot, the actual crux of the character is always different and always evolving.

Great occasions rally great principles, and brace the mind to a lofty bearing, a bearing that is even above itself. But trials that make no occasion at all, leave it to show the goodness and beauty it has in its own disposition. And here precisely is the superhuman glory of Christ as a character, that He is just as perfect, exhibits just as great a spirit in little trials as in great ones.

I try to be really, really specific, because each character is really an individual and you have to find out what makes them unique.

What gets yme excited about a project and character is the director, the script, who's involved in the movie, and the character. Those are pretty much the essentials. If it's something different, if it scares me, in a way, if it will stretch me or push me into certain places that I haven't been to, then I like that. If you're just trying to talk yourself into it, then it's probably not for you. It's hard to be selective.

I try to be true to the characters that I've created and sometimes I disagree with them, but their opinions about the story and the characters really matter to me.

When I'm trying to imagine something, I have a few elements, a few ideas, maybe a certain actor or actress I want to create a certain type of character for, or maybe a certain place.

Weirdly enough, I don't like to pretend. I try to use things in me, and translate them into the situation and the characters, so it always needs to run through my own veins.

I try not to divide plot and character. I get to know a character by what they want and fear and how those internal forces play out in their lives.

For early plays of mine, I started with character. But I think that's because I hadn't been in theaters; I hadn't worked that much. I'm very interested in character, obviously, but once I started having my plays produced, I became so fascinated by the theatrical experiment and the weirdness of theatrical space, so now all my plays start with space and stage picture and setting - or container is maybe the better way to put it.

You really try to work the character out and spend time in the headspace of the character. That's what I did.

When I'm putting the character together I try to find music that I think fits the character.

When you're trying to do character work that's different from what people expect from you, you're sort of in territory that is uncharted, and you don't know how it's playing all the time.

The characters I have the least in common with are the ones I have the greatest success with. The further a role is from my own experience, the more I try to deepen it.

What I really learned from Tim Burton is that it's important to have your own person in a role because you can't play a character unless there are elements of human behaviour that you yourself understand. I was really struck by how Tim Burton would like to sit and chat about you... or question things which then you had never thought about. It is a good thing to always step back a bit with things like that. But I try my damned hardest to learn something from everything I do.

Any jokes I make I try to make sure it's on story and helps the characters and makes sense with the movie.

You're trying to bring a character to an audience, and tell stories. That's what we're all trying do.

With The Help, I knew folks involved in the project peripherally. I wanted to audition for Hilly Holbrook and part of the initial feedback was: "No, Bryce is too nice." That's part of the reason why I really love auditions as well - you get to try out a character and try out different versions of a character.

I sort of have the belief that you work being your character out while you're working on it, or that's been my experience so far. I throw myself into it 100% and try to live in that world, and then when it's over, just sort of be able to leave it behind.

What I try to do in writing any character is to put myself in his position.

I try to create sympathy for my characters, then turn the monsters loose.