Johnny Depp Quotes

My strategy to show caricature idea of American youth culture, which I think worked after talking about it for so many years, is that I had only a few things. I wanted to buy my own wardrobe for Rock 'N' Roll High School, which of course they said "Yes" to, because their clothing budget was $200, and I ended up spending my whole salary - which I think was about $2,100 - on my clothes. And also, any time I was onscreen, I wanted to have as much energy as I possibly could. I think it just really worked for the character.

My first experiences with fashion were dressing up. It was always about fantasy for me. Dressing up as characters . . . I always thought that's what clothes were - that they would make you into the person you wanted to be. I'm an actress, so I love to act, and I think that's one of the most important things - the thing that makes you feel like another person.

It's a bit of an outside-in approach - so often the clothing can reveal so much about a character. It's like part of her superhero costume that she gets to put on and become someone else.

I just thinks it's interesting what it takes an actor to find their characters through the wardrobe, or the hair, or the way a character walks.

I think when you're playing a character in any film it's so crucial to have the costume that makes you feel like you're going to be that character.

I think that my fascination with clothes generally was motivated by trying to create the characters for the stage.

Playing Destroyo, who was sort of a 'Silence Of The Lambs' type character, I'd say I was wearing about 50 pounds of rubber and foam rubber and makeup. But I had no idea who The Tick was. I'm not a big graphic-novel guy. I don't even know if 'The Tick' was a graphic novel!

For me the costume is always a huge part of getting into character.

Sometimes your characters in films do things that you wouldn't do. You're not playing yourself all the time.

It's harder to play a quiet character because everything happens in their stream of consciousness. They're thinking and feeling the world, but they're saying very little, so then you have to communicate it through your behavior.

It's extreme. The character comes back from the dead, and, at first he doesn't know where he is, how he got there.... How does that tie in with the physicality? I just didn't think he should be too healthy-looking, so I lost some weight for the role.

I start a boxing movie and that's kind of something I've been able to get to the gym for. It's great anytime you can parallel a skill that your character has. I just think it makes it even more rewarding.

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.

The clothes, the shoes, the gold belts and the necklaces always click me into the character, for sure. You could not feel the character, and then you put on the shoes and get the walk.

From my point of view, when I was thinking about the prospect of [Michael Douglas] in this part, I wondered if he would go all the way with it. The reason I was concerned is that, oftentimes, actors - especially movie stars - when they're playing a character who might be perceived as unattractive or eccentric, will wink at the audience while they're doing it.

If you speak in a different accent, you begin to move in a slightly different way. You think in a slightly different way. It's part of trying to find what makes a character.

I always wished there was somebody like the Coen Brothers and they appeared. And so yeah, my favorite role that I've ever done was in The Man Who Wasn't There. That's my very favorite character I've ever played.

When it comes to thinking about how a character talks, there are literary and language considerations. For actors to be able to differentiate between themselves and the characters they are playing while at the same time remain in character and spontaneous requires a sophisticated combination of skills and spirit.

It's the way I feel about acting. That we are given clues by a writer about someone's essence or persona and it's our job to try to figure out which of those clues are true, which of clues we decide to follow and which of those clues we think are red herrings, or only in the way another character thinks of that character.

I think that's what makes David Ayer really interesting. He likes to make a tough-y movie, but actually he's a character director. He's fascinated by the actual people who decide to have these jobs and the way it affects their lives.

If you think of even Tolstoy or a book like 'Anna Karenina,' you go from character to character, and each section is from the third person perspective of a different character, so you get to see the whole world a little more kaleidoscopically that way. That's traditional narrative manner, and I haven't done a book like that before, but I enjoyed it.

I think in every character there are aspects of yourself that you bring to it. But then it would be really boring to just play yourself.

I think you have to be flexible above all as an actor; different characters have different demands, actors that you work with are different in their approach, or how you get along or don't get along with them.

Usually when you're playing a character, you think a lot about their backstory.

I should just stop trying to control what's coming out of my mouth. I'm always going to keep what's important to me in mind and I completely understand considering that we're playing characters that are so coveted by so many people so I get why they want to know more about us. I just sort of have to not think about it.