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“Costume is always an asset. Normal costume you have a lot to say about - if you're wearing suits or ties, and what color you want, and how it's going to be cut, and stuff like that, and whether or not you're going to wear a hat, and blah, blah, blah. But, when you're wearing a special costume, and of course, costume is probably the second ingredient in character, script being first, I always find that the costume does a lot to cement your character, to put it firmly in mind.”

“I did The Seagull, the Chekhov play, on Broadway, a couple of years ago, and I had done it in London, and I became completely obsessed with the character, Nina, that I played in that. She's an actress. I couldn't find a play after that, that I wanted to do, because I couldn't think of doing anything else. Every part is a disappointment, once you've done that part.”

“It makes it easier, if you can't do an American accent. I don't know. It's different. I played a character in Never Let Me Go where the script for my character was very sparse, and I enjoyed it. With Never Let Me Go, I had a whole book written from my character's point of view, so I always knew where I was. But, with Ryan [Gosling], it was just easy. He's such a brilliant actor and he is so prepared. He doesn't have to warm himself up to be in a scene. He's just in it. It draws you in, in a way.”

“I'd love to do a Paul Greengrass movie, or something like that, that's a character-driven action film. I'd like someone to make me go to the gym every day, and all that stuff. I don't know. Wherever the good characters are, I tend to try to get a job. It was nice because this was dipping my toe in the action genre. Maybe I might put my foot in, next time.”

“With me, growing up in a theater family and having them be so supportive, from the jump, and being a part of this theater community where the brass ring is working, wherever that is, and then to play a character where he's not really concerned with that and is really just concerned with the monetary aspect of the job, and then to be identified with someone who is the antithesis of your energy and where you come from, has been a very interesting and surreal ride.”

“People really do identify with the characters they see on the show, but these days, social media allows you to interact with fans in a really interesting way. On my Twitter account, I'm Chris Carmack, not Will Lexington. I interact with fans and joke with them. I'll post pictures from my life. I think that helps drop the curtain of a character.”

“A dissolute character is more dissolute in thought than in deed. And the same is true of violence. Our violence in word and deed is but a feeble echo of the surging violence of thought in us.”

“We ought to be very cautious in the prosecution of magic and heresy. The attempt to put down these two crimes may be extremely perilous to liberty, and may be the origin of a number of petty acts of tyranny if the legislator be not on his guard; for as such an accusation does not bear directly on the overt acts of a citizen, but refers to the idea we entertain of his character.”

“To bear failure with courage is the best proof of character that anyone can give... You will find that people forget the failures of others very quickly.... My last piece of advice is not to let anyone see your mortification, but whatever you fancy people are saying about you to go on with your ordinary life as though nothing unpleasant had happened to you.”

“ZANY, n. A popular character in old Italian plays, who imitated with ludicrous incompetence the _buffone_, or clown, and was therefore the ape of an ape; for the clown himself imitated the serious characters of the play. The zany was progenitor to the specialist in humor, as we to-day have the unhappiness to know him. In the zany we see an example of creation; in the humorist, of transmission. Another excellent specimen of the modern zany is the curate, who apes the rector, who apes the bishop, who apes the archbishop, who apes the devil.”