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I've been on both sides: the victim and the villain. I was the victimised model, and everything from my weight to my fertility was held up for discussion. And then I was the person that could garner some kind of positive outcome, by taking on the role of vice chairman of the British Fashion Council and becoming an activist of body image.
Maybe you're better to play a villain just straight out.
It really doesn't matter whether it's the villain or the hero. Sometimes the villain is the most colorful. But I prefer a part where you don't know what he is until the end.
I don't play the role of a villain, really, but I like playing anti-hero kind of roles. I like characters where there's conflict, drama, and more personal investment than just being heroes.
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.
You know everyone loves to be the villain.
You have to love the guy that you play, even if you play the villain, you've got to love him.
It's generally more fun playing the villain.
I don't necessarily find superheroes in general, for me, that appealing. I'd much prefer to play, if I was to be cast in a superhero film, I'd prefer to play the villain because there's a reason, there's a motive behind their madness.
I'm interested in looking for solutions because it's become the case that in fashion you're either a villain or a victim. Look at the industry's very limited remit in terms of body size, for example.
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 was never a villain on the stage. I always played strong, sympathetic types. My first stage role with a speaking part, believe it or not, was as a priest. It wasn't until I began acting in films that the producers and directors saw me primarily as a bizarre villain.
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.
One of the greatest things about playing a villain is people wondering when he's going to make his comeback.
A villain to me is someone who actively seeks to hurt someone or does things for his own gain.
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.
When you're a guest star on TV shows - particularly in the 1960s - you're always the villain.
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.
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.
'Villain' is such a harsh word.
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.
That's not a villain, that's a man whose a victim of being in love with the wrong one.
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.
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.
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.
Martin Luther King, Jr.
John F. Kennedy
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