But it was this tough little character part that I was playing, a very funny little guy that I invented over a weekend, because I realized I was not contributing to the humor of this thing. And I had to do something.

It takes a lot of energy to teach.

I have a theory about that, if you have to say something, if you have encourage for one second a prospective acting student - he should not go in to acting.

I didn't have any extra money. But I can't say that I had a hard early career.

When I go to where I was getting excellent parts in movies I may have taken a few too soon, too anxious to go back to work and to anxious to make another film and to succeed more.

I work with Sally and I can see Sally doing that. She is very aggressive. Very fun loving and charming... and pushy in a very competitive way and a very healthy way and a very good actress.

But movies as much as anything developed what I thought was right and wrong, what was honorable, what wasn't, what was funny what wasn't... what had some depth to it, what didn't.

I was very lucky in as much as I played a lot of tennis.

Well Sid Pollack was... He was I would say probably, probably the most influential on me.

The next night I got on an airplane, and flew to New York and looked into acting schools. Four or five acting schools. One of which was the Neighborhood Playhouse, which I started at six months there after.

I think is very beneficial to relax yourself so that when you are doing it you are not staggering for lines and your concentration is not on what I am going to say - but the scene itself, the character that you are talking to.

I did two or three plays every summer.

No not pigeon holed me as an actor, or as a character, or as to what I could do - but what I would do... and the fact is the things you don't do are almost as important as as the things that you do.

There is something about New York City that in and of itself is so theatrical hat I use to think... I use to feel when I walked out of my apartment on the way to school or anywhere that I was walking out on stage.

I think that you get something for your acting from almost anything you do.

But it is a hard, it's a hard profession teaching acting.

I have worked with some great directors.

To tell you the truth I am hard put to think of anyone who's career was affected significantly by making all those phone calls and I must be wrong. I must be wrong! Because it has just got to pay off!

But I did make some money doing commercials. I did fourteen in one year.

But it was this tough little character part that I was playing, a very funny little guy that I invented over a weekend, because I realized I was not contributing to the humor of this thing. And I had to do something.

I'm convinced that the place, if you have your druthers, to go to have that experience is New York City.

The career doesn't get any easier. A career stays tough.

And it just made me realize again because I have know it for some time, that you never get comfortable in this. No matter who you are. No matter who... how successful you are.

In this watering-place I acted an heroic character, badly studied; and being a novice on such a stage, I forgot my part before a pair of lovely blue eyes.

I do like to embed a fictional character firmly in an occupation.

But even with a character like Cary who is relatively outlandish, at the end of the movie he's in a place where I wouldn't have expected him to be - taking on the responsibility of a woman who is pregnant and who used to be his best friend's wife.

Always, your work is the same: You have to tell a story, you have to make a character. It doesn't matter if there are thousands of dollars, millions behind it, or if there is nothing.

Each of us is meant to have a character all our own, to be what no other can exactly be, and do what no other can exactly do.

I liked Huckleberry Finn and Tom Sawyer, and that is the kind of character that I would like to have played. That would have been more in tune with who I really was.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

In a lot of ways, the make-up was the character.

The more we study the Indian's character the more we appreciate the marked distinction between the civilized being and the real savage.

So many people have said that to me, that what they really like about Alex is what she brings out in Marissa, and what this situation brings out in her, a hint of happiness and another side to her character.

I've been on the show for six years and I don't even know what her history is. I sort of make things up in my mind, but I think it's hard for an audience to follow and invest in a character when they don't have the details.

It is not true that drink changes a man's character. It may reveal it more clearly.

Because I killed a guy in real life, and because my character kills a guy onstage, they said I could never do anything this great again. I resented that.

Well, I go to the theater today, and its curtain - there is no curtain in this play; the lights go down and go up - and we start. And I live this character for two hours. There are only two of us in the play. And It's a complete experience.

I just kind of understood it, and I threw my love for others and love for life into the character, and was having a blast. I loved playing Dharma. I loved it!

I think if you play a character that is fearless, then it's boring. I think that's what was so incredible about Harrison Ford, is that he always seemed like he was never going to survive it, he's always scared, and yet he always does survive it somehow.

If you look to lead, invest at least 40% of your time managing yourself - your ethics, character, principles, purpose, motivation, and conduct. Invest at least 30% managing those with authority over you, and 15% managing your peers.

Every character I play has to be the hero of his own story, the way we're all heroes of our own lives.

To be a character who feels a deep emotion, one must go into the memory's vault and mix in a sad memory from one's own life.

Character is power; it makes friends, draws patronage and support and opens the way to wealth, honor and happiness.

You have to understand the tone of the movie, because if it's supposed to be funny, it can be funny violent like the Home Alone stuff, but you have to really understand the tone of what you're doing and make the action work for that and for the character.

In Shakespearean tragedy the main source of the convulsion which produces suffering and death is never good: good contributes to this convulsion only from its tragic implication with its opposite in one and the same character.

I feel like I'm the most well-adjusted character on the show, even though I'm sure the other actors would tell you the same thing about their characters.

And what's interesting about him as a comic character is that the custard pie hardly ever ends up on his face.

I worked on my voice for Sweet Dreams, but only to match my speaking voice to Patsy's actual singing voice. That was my way into that character.

I didn't want to be greedy. It's a mark of bad character and I always believed that pigs go the slaughterhouse.