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It's about the characters, it's about the film, it's about the process of making stunning visuals and a huge, epic movie. It doesn't matter if my head was covered in a black plastic bag and I was bouncing around in a space hopper: That's the villain of Chris Nolan's 'Batman!'
My theory of characterization is basically this: Put some dirt on a hero, and put some sunshine on the villain, one brush stroke of beauty on the villain.
You know everyone loves to be the villain.
A villain to me is someone who actively seeks to hurt someone or does things for his own gain.
You can't think that you're playing a villain, or you'll end up with a cartoon. You have to think about him as a person and a hero.
When you're a guest star on TV shows - particularly in the 1960s - you're always the villain.
The villain is usually the most interesting part. But it has to be a smart thing. Just dumb cliche villains with a Russian accent and big muscles and a mean face, I don't know. My Russian accent isn't that great, and the muscles aren't that big and the mean face is not enough. You know what I mean? It gets very boring. Tedious stuff.
There has to be that feeling in a good villain - that he's awesome, he has his own power; that he is, in several senses, unstoppable.
I'm incredibly grateful to be playing the villain in a world which, if I really thought to hard about what I was doing, I would get very nervous about the size and the magnitude of the importance and responsibility of being a villain in the world of 'Batman.'
That's not a villain, that's a man whose a victim of being in love with the wrong one.
Vampirism, for me, was a way to live in fantasy and have superpowers, but not just in a really perfect, happy, everything is great way. It's superpowers with a cost. It's having to be the villain, and what do you do about that.
Some people who've read my story think I had a terrible childhood and that I was neglected or even abused, while others feel that my parents, while certainly flawed, also had truly wonderful qualities. And that's the way it should be, because in real life two people can look at the same president and one will see a hero and the other a villain.
Operas elucidate, in a way sometimes absent in other theatrical productions, the very human fact that in every hero, there is a thread of duplicity. In every villain, there is another side to consider: We don't have to like him or her, but we are compelled to think about motivation.
'Villain' is such a harsh word.
People are much more complicated in real life, but my characters are as subtle and nuanced as I can make them. But if you say my characters are too black and white, you've missed the point. Villains are meant to be black-hearted in popular novels. If you say I have a grey-hearted villain, then I've failed.
I never play a villain that I don't have something I can either do or say so the audience sees there is something redeemable about them. In other words, I don't want to do evil for evil's sake. I don't want to do Jason slasher movies. There's no point in that.
I would love to play a villain someday in that I think that what I've done with my whole career is walk this tightrope between charming and creepy, and I always fall on the charming side. I'd like to fall on the creepy side and be like one of those scary old men, like really charming villains.
My life's ambition is to play a James Bond villain. I have the cat and the eye-patch, so I'm just waiting for the call. For some reason, though, the phone hasn't rung.
I'm the guy who plays human beings. I understand why the characters are doing what they're doing. When you play a villain, you don't play a villain: you play a human being doing what he thinks he needs to do to get what he wants.
One of the greatest things about playing a villain is people wondering when he's going to make his comeback.
I love my accent, I thought it was useful in Gone In 60 Seconds because the standard villain is upper class or Cockney. My Northern accent would be an odd clash opposite Nic Cage.
What's great about 'The Avengers' is that it's the next step. It's not just superhero fights super-villain and superhero wins. It's about superheroes that come together and interact. It's a clash of the egos. You could do 'Avengers 1' without a villain, just with all these guys coming together. They could sit down and just have a discussion.
Part of my strength as an actor comes from what I've learned all these years: when you play a villain, you try to get the light touches; when you play a hero, you try to get in some of the warts.
If you look a little punkish, then they're going to give you the parts. And if you play an iconic villain early on in your career, you tend to get asked to play one over and over and over again.
I've never really been serious about my villainy. I don't have a master plan. I suppose my philosophy is: Every villain has a mother. For every cold-blooded killer on your screen, there's a little old lady somewhere who calls him 'sonny.'
A. P. J. Abdul Kalam
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