Character Investment Quotes

As an actor it's like, go with whatever excites you as an actor. What are you're going to invest yourself in as a character? What are you going to get into? Have a variety of characters to play.

With 'Richard,' I was excited to make this film with such an amazing role for an actor. Play a wide range of emotion and really invest myself in the character.

If you care about the characters, then whatever scary thing happens to them, you feel it even more.

I've always enjoyed shows like 'The X-Files,' where you're on the edge of your seat and you're so invested in these characters.

Every character, if fleshed out properly, is being taken seriously.

Smart writers really take their time in investing in backstories and characters. As a viewer, you have to invest in them and love them before you can chip away at what's going on more on a deeper level with secondary characters.

For me, every character takes the same amount of immersion.

In the U.S.A., the fans are passionate and are willing to believe in your character.

Hence the genius of having Ken steer this ship as well. You have to invest these characters with a Shakespearian quality and not in a way that might disengage the audience but in a way that actually lets you play to an audience.

The test of any good fiction is that you should care something for the characters; the good to succeed, the bad to fail. The trouble with most fiction is that you want them all to land in hell, together, as quickly as possible.

[With] this show [This Is Us], I don't think I was seeking something outside of the world I'd always played in so much as I'm ruled by characters. If it's a great character, I'm invested. It doesn't matter what the genre, what the storyline, anything.

'The Walking Dead' never wants you to get too comfortable with characters and cast members. I think about the time you feel fairly secure with your appreciation of a character is about the time the show will gut-punch you.

If I love the character, then that's all that matters to me. It doesn't really matter what genre it is.

As a child, I was just never that interested in the lives of my favourite actors, like Cary Grant. I do wonder whether knowing too much about someone's personal life interrupts an audience's ability to suspend disbelief, to really invest in the characters. My preference would always be that people engage with the work.

Being able to stay with a character over the course of years is a gift.

You always hope that people will fall in love with the characters you play, the way you do yourself.

What I love about watching classic horror films is that they take you on a ride and they obviously make you scared because you're so invested in the characters, you're almost forgetting that oh my God, this is about to scare me.

I use a lot of narration; I have a very prosaic style. I like to get you invested in the character first and do a lot of work in the first pages of each issue to try to re-establish things and keep the symbolism of a story very tucked beneath the surface.

Watching something like 'Orange is the New Black' - the development of the characters is amazing. Or 'Breaking Bad' or 'Mad Men' - those shows went on for so long. You become so invested in those characters, and I think that's a pretty magic thing.

What audiences love with series is that they can invest in characters for such a long period of time, and it's the same for actors. You can truly tell your story; then it's done.

I enjoy the writing process and producing; I enjoy seeing an idea come to fruition. I'm driven by very complex characters. You look at the pilot of 'Breaking Bad,' where there's so much depth to the character, you can't help but be invested when you watch.

It's always nice to get a storyline - I know all actors say that, but it genuinely is, as it feels like the show's team are putting their faith in you to do it justice, so it's quite a compliment.

In film, I think that you do have a little more time to invest in the character compared to television, where you are shooting from the hip and making quick choices. It is the speed of things that is the major difference - certainly in my experience.

I can always tell when a filmmaker doesn't care about his or her characters; they just care about setting them up to kill them off.

The soul is presupposed as a ready-made agent, which displays such features as its acts and utterances, from which we can learn what it is, what sort of faculties and powers it possesses -- all without being aware that the act and utterance of what the soul is really invests it with that character in our conception and makes it reach a higher stage of being than it explicitly had before.