I think the eyes are very revealing and can expose a lot about a persons mood or character.

I eventually saw the satirical nature of caricaturing individuals.

There are certain people within the new government who have a slightly disturbing tendency toward authoritarianism, but there are so many checks and balances that in that way their noises are just noises.

Primarily I'm a social commentator rather than someone who's out to get the belly laugh.

Sometimes I have to compromise my views, but I never compromise on issues like the death penalty and the arm trade laws, despite what the readers or letters may say.

What's much harder is taking on people in your own community.

Even people that I agree with can do something that would be a target for a bit of humor.

There was a teacher who recognized that I was interested in cartooning and he was great.

I am anti-Bush. A lot of what he stands for is the antithesis of what I stand for.

I see the cartoonist as contributing to the content, being critical, because we do poke holes in some of the dialogue and find new ways of seeing things.

The cartoons which I enjoy have caused some kind of out rage, but they have got people talking about these issues out in the open and in essence that's what its all about.

Certainly in cartooning I'm given huge free rein at the moment.

I think the eyes are very revealing and can expose a lot about a persons mood or character.

You can't undo a deportation.

I normally keep a series of draft in a catalogue type of book in which I scribble, sketch and draw ideas.

I was very lucky all three newspapers approached me and asked me to draw their cartoons for them.

I would think a sense of the absurd is more important for a political cartoonist, because that could define things like a sense of hypocrisy or a sense of the things one has to be skeptical about.

Gee, I am a complete Luddite when it comes to computers, I can barely log on!

On one occasion in 1987 the security police came looking for me because of a drawing that I'd published.

It's to be a person who's able to shoot little arrows into sacred cows and knock politicians off their pedestals, to look out for hypocrisy, advocate for all sorts of things from social justice to peace.

I try not to change my political point of view from paper to paper.

Mandela once phoned me out of the blue while he was still president, and at first he played with me a bit.

We do, and there is a law in the United States - the Torture Convention - that prohibits the United States from deporting an individual to a country where there is a reasonable expectation that he will be subjected to torture - physical, mental or otherwise.

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.