Jerry and I always felt that the character was enjoying himself. He was having fun: he wasn't taking himself seriously. It was always a lark for him, as you can see in my early drawings.

In this drawing we just let our imagination run wild. We visualized Superman toys, games, and a radio show - that was before TV - and Superman movies. We even visualized Superman billboards. And it's all come true.

I did all the work at the beginning up until the point where I couldn't handle the increasingly heavy art production burden alone. I needed, and got, assistance.

I was mild-mannered, wore glasses, was very shy with women.

I think initially we wanted to use the first letter of the character's name. We thought S was perfect.

He was mostly leaping tall buildings in the beginning. There were cases where he would leap off a tall building or swoop down, and at that point he would look like he was flying, I suppose. It was just natural to draw him like that.

Not only that, but when I first met Joe, to my intense delight, he showed me that he was a collector. He was collecting some of the early Tarzan pages by Hal Foster, and, later, early Flash Gordons; and I found that we were both absolutely interested in the same type of thing.

Jerry and I always felt that the character was enjoying himself. He was having fun: he wasn't taking himself seriously. It was always a lark for him, as you can see in my early drawings.

Clark Kent, I suppose, had a little bit of Harold Lloyd in him.

In the beginning, we had a great deal of freedom, and Jerry wrote completely out of his imagination - very, very freely. We even had no editorial supervision to speak of, because they were in such a rush to get the thing in before deadline. But later on we were restricted.

Jerry picked up the technique of visualizing the story as a movie scenario; and whenever he gave me a script, I would see it as a screenplay. That was the technique that Jerry used, and I just picked it up.

Before I ever put anything on paper, Jerry and I would talk back and forth.

I drew a picture on the back of a calendar in pencil. In those days they used to give out free calendars, I had no art paper, so I took whatever else I could.

Jerry often says that Slam Bradley was really the forerunner of Superman, because we turned it out with no restrictions, complete freedom to do what we wanted; the only problem was that we had a deadline.

Those early sketches looked too cartoony; I really wanted to do detailed drawings - I was taking anatomy classes - but unfortunately I wasn't able to do it because of the time element.

And I agreed the feeling of action as he was flying or jumping or leaping - a flowing cape would give it movement. It really helped, and it was very easy to draw.

I had to produce a complete page - or two or three - in one day. I took a lot of pride in my work, and I hated to do a mediocre job. Evidently, some of the writers enjoyed my work best of all for that very reason.

Jerry reversed the usual formula of the superhero who goes to another planet. He put the superhero in ordinary, familiar surroundings, instead of the other way around, as was done in most science fiction. That was the first time I can recall that it had ever been done.

I came from Canada when I was about 10 years old, and our family settled in Cleveland, Ohio.

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.

The analysis of character is the highest human entertainment.

Love is the expression of one's values, the greatest reward you can earn for the moral qualities you have achieved in your character and person, the emotional price paid by one man for the joy he receives from the virtues of another.

To have an opportunity to make a movie like Cabin Fever, you have to get stuff thrown on you or you have to fall into a pit of water. It brings you that much closer to your mindset as a character.

I would certainly choose my jobs depending on the actions of the character. I won't do anything that has to do with child abuse or women's abuse.