Johnny Depp Quotes About Character
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I had never experienced anything like the response I got from people for Pirates of the Caribbean, where you meet a 75-year-old woman who had seen Pirates and somehow related to the character, and then five minutes later you meet a six-year-old who says, 'Oh, you're Captain Jack!' What a rush. What a gift. That was the challenge with Wonka, too--to be, in a sense, like Bugs Bunny. I find it magical that a three-year-old can be mesmerized by Bugs, but so can a 40-year-old or an 80-year-old. It's a great challenge to see if you can appeal to that huge an age range.
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And then, 'Why is a raven like a writing desk?' Those things just became so important to the character. You realize that the more you read it, if I read the book again today, I'd find 100 other things that I missed last time. It's a constantly changing book.
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I'm all for whatever it takes to get wherever you need to get with a character, as long as you don't wipe it on me.
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You don't have to underestimate your audience anymore. They'd actually like to laugh a little bit. So, the character came to me and once it's got its grips in you, there's nowhere to go.
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With every character you play, as these guys will tell you, there's a part of you goes into that in terms of the ingredients of making this stew. There's most definitely a part of me in Captain Jack and now, fortunately or unfortunately, there's a great part of Captain Jack in me as well. Basically, I can't shake him. He won't leave me alone. He just sort of keeps showing up at odd times.
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After having been confined to a television series - and it's a luxury job - where you can't play anything but one particular character for nine months out of the year, it will make you insane. It didn't affect me. I got out quick enough.
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Barrie and the wonderful characters he created, Lewis Carroll, even French literature, like Baudelaire or over in the States, Poe, you open those books, you open The Flowers of Evil and begin to read. If it were written today, you'd be absolutely stupefied by the work. It's this incredible period where the work is timeless, ageless. So yeah, I just love all those guys. It's my deep passion in those great 19th century writers.
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Any character that you come up with or create is a piece of you. You're putting yourself into that character, but there's the guise of the character. So there's a certain amount of safety in the character, where you feel more safe being the character than you do being just you
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For me, it's always more difficult and slightly exposing to play something that's close to yourself. I always like to try to hide, just because I can't stand the way I look. But, I think it's important to change every time and come up with something that's as interesting as it can be, for your characters.
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I've always enjoyed hiding behind these characters. It's a strange thing, you're more comfortable as a character than you are in life. I could stand up in front of, it doesn't matter how many people, as a character. But if I had to do it as myself and give a speech, I would be liquid.
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Interestingly enough, for me, a character like Captain Jack, you feel like you could just continue. The possibilities are endless and limitless. There is any possibility of madness and absurdity that could commence, so you feel that, with this character, you're never really done.
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It's funny what [producer Richard Zanuck said about even though you can't quite place when the book or the story came into your life, and I do vaguely remember roughly five years old reading versions of Alice in Wonderland, but the thing is the characters. You always know the characters. Everyone knows the characters and they're very well-defined characters, which I always thought was fascinating. Most people who haven't read the book definitely know the characters and reference them.
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My children's favorite, and it's funny because they've seen it but they have a difficult time watching it because it's their dad and they make that connection, but Edward Scissorhands is by far my kids' favorite. They just connect with the character, and they see their dad feeling that isolation, that loneliness. He's a tragic character, so I think it's hard for them. They bawl.
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With a character like a Captain Jack, who can essentially set up these verbal land mines around him, and just keep passing the "absurdity ball" around and the "irreverence ball" around, and keep people guessing and keep people confused, there's great safety in that. Me, myself, personally, I learn from it. It's a real pleasure, and I do need him.
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You always miss them [characters you've played] once you've walked away, but part of them always stays with you too.
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You do a movie, depending on the character, there's some degree of makeup involved, especially when you're playing a vampire and you're all white and kind of dead. Sleeves, regarding costumes, there are generally sleeves, which I appreciate. I think we all do.
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It really depends on what the screenplay is asking of you, and what your responsibility is to that character. You have the author's intent to deal with, you have the filmmaker's vision, and then you have your own wants, desires and needs for the character. It's collaborative. But I knew, right off the bat, that there was no way to go into some sort of pink-haired, clown-nosed character with Ronald McDonald shoes.
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When you play a character that exists or existed, there's a stronger responsibility that you have. You owe that person and then you owe the family, you owe history, you owe the victims, the victims' families.
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The funny thing is you oddly don't really say goodbye to all the characters you've played. There's like a chest of drawers in your head that you can always access. They're always around. I'm not sure if that's healthy. But they're all there.
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