Character Performance Quotes

Aaron Echolls is one of the best characters that I've ever played.

I want to be an animated character. I'm also doing more writing and directing.

Someone at Disney heard one of the records and called me in to do the sounds of Lucifer the Cat in Cinderella.

The more I know about America, the better I'll be at performing American characters and American stories.

I was asked to be on 'The Colbert Report' last year as Big Bird and Oscar. But when we got there, we discovered they wanted both characters on at the same time. Stephen Colbert didn't know one man plays them both. We called Joey Mazzarino, our head writer, who's a very good puppeteer as well. He agreed to zip over and do Oscar.

Broadly speaking, there are two kinds of acting: character acting and lead acting. And in my life, to begin with, in the 1980s, it was all character acting. And then when, by fluke, through 'Four Weddings', I got into doing lead parts, it's a completely different thing.

Doing narration is a totally different art form. I do some video games, and some that I've done are iconic.

That's kind of how my jobs have happened over the years. It's been referrals throughout the creature effects/make-up world. The drawings happen, and they see that it's a tall, skinny thing, and they go, 'Let's get Doug Jones for that.'

I never pick a film based on the genre; I choose the characters I play. I will think it through thoroughly - whether I am the best person to play the character, able to excel in it and match with the other characters.

Sometimes I am just playing the character. I will move out of the way of the microphone, and they will have to tell me. Because I am moving around a lot. I am performing the cat. The animators look for that material, to see if they can put it back into the movie.

John Lithgow was absolutely wonderful in 'Dexter,' there's no doubt about it.

My character is different from all of the Elves you've met before, in that she's really young. And I keep telling journalists this because I've really focused on that in my performance. I'm trying to distinguish her from all of these incredibly sage and wise Elves that have lived for thousands of years.

When you do animation - well, straightforward animation, although it's not straightforward - the voice for a character or something, they're always singular experiences, really.

Filmmaking is all about what we like to do on-screen. We have attempted that in the film. I have worked very hard to perform the character.

I've always been a huge fan of Charles Lawton's performance in 'The Hunchback of Notre Dame,' so somewhere along the line, I've always wanted to play that character.

'We need a guy who plays dodge ball and thinks he's a pirate - get me Alan Tudyk on the phone!' Those are the jobs I do.

Playing a character in a video game is different to other performances because your character can't lead the audience of players in one direction.

In feature films, I used to be the hero's friend, a regular character. In short films, I played the hero; I got roles where I could work on my character and performance. They made me aware of myself as an actor.

[T]he judicious reader ought to know what the chief character in any work of the imagination will naturally perform, according to the situation he is thrown into, as well as doth the author himself.

As an actor, I always wondered what it would be like to watch an animated character with your voice behind it and see if it seems seamless or if it seems like your voice is isolated from the animation.

My job is to bring to life the character, not to put the words on the paper.

In terms of animation, animators are actors as well. They are fantastic actors. They have to draw from how they feel emotionally about the beat of a scene that they're working on. They work collaboratively.

The nice thing about animation, you don't even really have to account for yourself. All of the physical stuff that you work on as an actor, you just throw away.

Muppet films are never easy to film 'cause Muppets have no legs.

When we recorded [Moana], I would do all of the stuff and then save all the big screaming for last so that you can really blow it out and ratchet it up every time, get that perfect panicked pitch.