The play is on top of me all the time, and I am constantly thinking about it. Even when I leave the theatre, I'll mumble the lines to myself or think about the way the character walks or holds himself.

The play is on top of me all the time, and I am constantly thinking about it. Even when I leave the theatre, I'll mumble the lines to myself or think about the way the character walks or holds himself.

What can I tell you about things like Circus of Horrors except that I get killed by the bear?

I don't really know how many films I've done, and I don't look at this as a race that I necessarily want to win. Nor is it a race that I want to stop running.

All the real work is done in the rehearsal period.

I'm hardly physically right for the hero parts, now am I?

I believe you can frighten people without showing their heads caved-in.

I'm the sort of actor who likes to talk about what we're going to do.

It's gotten to the point where it's big news when I don't do a horror film.

The idea of dying and coming back is what makes the Halloween films work.

Continental directors, as opposed to British and American, tend to be somewhat high-handed in their approach.

The process of creation goes on all the time. When I get through, I feel I know what the character will do in every situation. But the building up of the part is not mechanical or deliberate. It grows out of the text.

At this point in my career, it doesn't bother me much that I'm probably hopelessly typecast. I like to work, and horror films definitely keep me working.

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

I was offered a choice of a flat salary up front or a percentage of the film's future earnings. I took the up front money. Nobody could have figured what Halloween would ultimately become.

The process of building a part doesn't really stop.

Loomis has always felt himself responsible for the fact that he did not stop Michael when he first murdered his sister, and so he's got that guilt to live with.

John Carpenter created the idea of Halloween, so his vision remains the most focused and intelligently directed of the series. The directors that have followed have kept the original intent of the concept.

I loved working with Jamie Lee Curtis, and I felt she was a wonderful actress even that early in her career.

I do think the story in Halloween 5 is a bit stupid, and there's a lot more blood. They're obviously going to take the Halloween series in a different direction.

I think people have a tendency to read into more than there is.

At the end of the first Halloween, when I shot 6 bullets into Michael Myers, John Carpenter said, Let's get a shot of you looking out of the window and seeing no one lying there.

The first Halloween was very well made. The second one was also well made, though I didn't like it as well as the first one. The third one had nothing to do with the series at all and perhaps shouldn't have been made at all.

John and I had a few meetings about what direction the sequel should take. I made some real insane suggestions. True to what you'd expect, he ignored them all and just picked up Halloween II where the original left off.

I am not one of those actors who believes he has to live the part he is playing. I can turn it on and off.

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.