Jeri Ryan Quotes

The Canteen Boy, the reason you feel bad for him and you can laugh is because he, and I guess a lot of my characters, they don't notice they're getting made fun of. So they'll say something back that's not that great a quip, but in their mind they won the argument.

I never examined what I did in any great detail because I thought it would spoil things. I never read the scripts at all carefully, and never wanted to know what was going on, because I felt that being a benevolent alien that's the way it should be.

I think it's always interesting to learn what the seemingly spontaneous one-nighter actually reveals about a character.

That's the thing, when you play younger characters they're always less casual. You're hungrier or more naive. Those things wane in time.

My comedy does not come from a place of deep cynicism, and I tend to play characters who are naive in some way.

I don't know what idiocies drove me in those days, but they were naive, innocent idiocies in many ways.

Having a sweet, wide-eyed, awkward character is more charming and allows for more range. If you come from anger, you're going to reach a ceiling very quickly.

Even if you're the President of the United States, you still act like a little child and think like a little child sometimes. Childish behavior is what I look for in all of my characters because that is what makes them human.

I didn't think I was doing anything bad by falling in love.

Stupidity without malice isn't horrible; some people can't help it.

I tend to go for these half-little-boy characters.

With Richard Splett, he's like the only character on 'Veep' that has no angle. He's guileless. He also believes in the power of government.

I never had any thought behind anything I did in the beginning, to be honest.

Children make prayers so thoughtlessly, building them up like sand castles—and they are always surprised when suddenly the castle becomes real, and the iron gate grinds shut.

The librarian, the warrior, the free spirit... archetypes are a great jumping off point to help clarify where we want to go with a character.

I was too young to take it all in. I was too young to even realize I was young. I was just living my life.

I envy your ignorance, I hear that it's bliss.

I like men to behave like men. I like them strong and childish.

The truly innocent are those who not only are guiltless themselves but who think others are.

She stands and moves within the invisible pentacle of her own virginity. She is an unbroken egg: she is a sealed vessel; she has inside her a magic space the entrance to which is shut tight with a plug of membrane; she is a closed system; she does not know how to shiver.

They are children, Sansa thought. They are silly little girls, even Elinor. They’ve never seen a battle, they’ve never seen a man die, they know nothing. Their dreams were full of songs and stories, the way hers had been before Joffrey cut her fathers head off. Sansa pitied them. Sansa envied them.

Nothing looks so like innocence as an indiscretion.

The mind of a little child is fascinating, for it looks on old things with new eyes-but at about twelve this changes. The adolescent offers nothing, can do nothing, say nothing that the adult cannot do better.

Optimist: day-dreamer in his small clothes.

Guinevere has been done quite a few times, especially as a mature young woman, who either is the damsel in distress or the warrior, strong-willed woman. Chris wanted a variety of things in this Guinevere. He predominately wanted her to be real and natural, and make mistakes and be passionate, and be the feisty young girl, but then also completely naive, innocent and ignorant, at the same time.