I always try to approach character first and foremost viscerally.

But I have had the luxury of working on good films with great people.

I love writers. All of my best friends are writers.

If my gravy train stops at SAG, honey, it's been a great ride.

But no, had I been successful in my 20s I would have been just fine. But it is nice to defy the odds.

I'll read a script maybe twice, but I'll think about the role more than I'll rehearse lines.

The odds are not in your favor the older you get, especially if you're a woman in this business.

And I have a really great agent and I know it's almost an oxymoron to say you have a smart agent. But she is and she has a beautiful aesthetic and she has guided me.

I'm still traumatized that I'm going to be on a big screen in a white bikini and naked so who knows!

It's never easy with characters in these dark and grave circumstances but that's my job.

I don't like a lot of rehearsing.

New Orleans. Born and raised. I lived there until I was 19.

I'm obsessed. I've always needed to know what's going on but now it's a must.

And now oddly I'm getting sexier parts than I've ever gotten.

Holly Hunter has been doing great work forever.

Well did graduate summa cum laude from Fordham University.

See, the SAG awards caught me totally by surprise.

You're always close and you never get that big romantic lead.

I think it kind of took being a character actor to kind of now enter into leading ladies.

The majority of work I do is in independent films, where you're lucky if you have five takes.

I'm really a director's actor. I rely heavily on a director.

I think it would be hard to go the distance in this business without a sense of humor.

I always try to approach character first and foremost viscerally.

I think it's always harder in a film to convey intimacy.

Why are comedic parts for women the exception, not the rule?

I just have a thing for writers. Maybe it because I'm just so not a writer.

I have to watch the news or my day is not complete.

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.