I locate that special problem in a character and then try to understand it. That's the genesis of all my work.

You can't take a character anywhere they don't expect the character to go. But within those confines is where creativity lies.

If you're writing a book that takes place in New York in the moment, you can't not write about 9-11; you can't not integrate it. My main character's view is the Statue of Liberty and the Trade Center. It doesn't have to take over, but it has to be acknowledged.

I read every script from beginning to end, and I read every draft that I can. I like the show, I like the character, and I want to protect both of those things.

I approach my character with the question: What would an animal think? How would an animal respond? A lot of times, it's quick action and no fear, and sometimes it's irrational fear. You don't always know.

It's all about exploring the more unpredictable aspects in the character, not just fighting people.

The most important thing is to just be good at what you do. You do a good job playing the character, and people will be taken up with your character, not your clothes.

I said, 'Wouldn't it be great if Matt Damon's character fell in love with a girl with a real butt?' They were like, 'Yeah sure, sure - here's your personal trainer.'

If a man's character is to be abused there's nobody like a relative to do the business.

Science cannot tell theology how to construct a doctrine of creation, but you can't construct a doctrine of creation without taking account of the age of the universe and the evolutionary character of cosmic history.

Foreign powers do not seem to appreciate the true character of our government.

Sometimes in my class I have people come in and do monologues inspired by people they know and I always find that to be useful to do specifics about somebody and then you're actually doing a character and not doing some random old lady or something.

If you do a scene and you really like a character in it or a premise in it to write it down and to work on it so that you can have five or six characters that you can pull out in an audition.

I'd just like to see a role for women where someone who isn't traditionally attractive is not portraying the best friend. You know, the character that only speaks in questions. 'Gee, are you gonna go out with him? Do you think I look fat?'

I do not use any set methods, not even The Method. The character after all is in the lines.