character appearance Quotes

The mask of the character was already written into the show, but I actually lobbied for a denser and more complete mask than they initially considered.

I'm not a person who goes out of my way to change my look. I like my characters to look as natural as possible.

As for facial hair, I think I decided it was a good look after graduate school. I always shave it myself and trim my own beard. I change the look depending on the role. For 'Million Dollar Baby,' I had no facial hair. For 'Men in Black 3,' I had no facial hair but did wear a wig.

I've done many body scans. Every time your character fights in a different look, they'll rescan you. Because my character has taken so long to get a super suit, every time Mon-El fights, he's in something different.

The way a character looks reflects what's on the inside. I can make myself look really bad, and I can make myself look kind of gorgeous. It's not about me; it's about the character.

Usually I'm very, very involved with choosing my character's wardrobe and knowing exactly how I want the character to look and this is the color palette and the textures and these are the kinds of shoes she'd wear.

Kane dons the mask because he is horribly disfigured, unstable, mentally insane and crazy, so I thought it would basically look like he had escaped from an institution. Then, I get the creative for the costume, and it looked like a superhero.

'Veronica Mars' was my first job, and for some reason, my character changed her hairstyle halfway through the season from curly to - I don't even know why - suddenly straight.

Initially I objected to the Data makeup. I said, "Why do I need this makeup? Why can't I just look like me?" In fact, I said to Gene Roddenberry, "Don't you think that by this time in history, they would've figured out how to make skin look like skin?" And he said, "What makes you think that what you have isn't better than skin?" And I went, "Um, okay."

I thought Sissy Hickey should be really skinny and leathery and have one of those really husky voices, but Del Shores kept saying, "I wrote this part for you." He took me to his house and showed me pictures of all his Texas relatives, and they looked exactly like my family.

Creating a character is about what they look like. The look speaks volume to the audience.

So, I'm going to go over on Angel. Joss is just going to find a way to keep me bleaching my hair, which is fine.

The cameo I did in 'Fellowship of the Ring' was I was in the street of Bree, and I was eating a carrot.

My character Preet in 'Fanaah' had a very distinctive appearance: loud make-up and dramatic clothes.

Somebody with Debbie Reynolds' features doesn't get cast as the Wicked Witch.

A film is a great deal about what you see, and the silhouette of a character tells you a lot. I'd love to go into film costume.

Nick was dressed in jeans, a dark green sweater, and bomber jacket–the perfect image of a rich college student. Talon looked like a biker who had just left Sanctuary, New Orleans’s premier biker bar. Acheron looked like a refugee from the Dungeon–the local underground goth hangout. Valerius was the professional contingent, and Zarek…Zarek just looked like he was ready to kill something.’ (Talon)

I very seldom, very seldom, even know what my characters look like.

The cool thing about my character was that it's not that digital. I get to put hours of prosthetic makeup on and see a different creature altogether. I've seen how he looks and it's really cool.

That first movie I did, Lucas [1986], was probably the closest to me. And Beetlejuice a little bit, in the sense that I did look like that. All they did was like put a little white powder here.

My only surprise when I saw Thanos up on the screen was how violet he was. I always saw his exposed hide as being more grayish violet.

Yes, the people I draw don't have a wide variety of looks. Every now and then I'll spruce it up, like a woman will be wearing a two-piece suit as opposed to a one-piece, or a man will not be wearing a tie; he'll just have a collar.

In 'Blindspotting' I play a girl from Oakland, I've got an accent, I've got long, '90s 'Poetic Justice' braids, and in 'Monsters and Men' I play a girl from Brooklyn.

I have deliberately left Sylvester and Julia's appearances to the reader's imagination.

Costume, hair and makeup can tell you instantly, or at least give you a larger perception of who a character is. It's the first impression that you have of the character before they open their mouth, so it really does establish who they are.