I've always regarded it as a test of character to dislike the Kennedys. I don't really respect anyone who falls for Camelot.
When I first got the audition for Shado, I went online and subscribed to DC Comics and read a bunch on Shado and the Yakuza, just to get to know her character better.
My characters don't always know more than the reader does, because my readers get the best seat in Paper House.
Writing is just building a new world – one character, one place, one maniac at a time.
Like most people, I'm fascinated by characters who are completely flawed personalities, riven by anguish and doubt, and are psychologically suspect.
I never like to think of any character as being over. I'm always thinking of different ways of bringing them back.
Those with dementia are still people and they still have stories and they still have character and they're all individuals and they're all unique. And they just need to be interacted with on a human level.
No matter how heinous someone's behaviour, if you make them a comic character, you can't expect people to hate them.
Then I wanted the character to be feminine as opposed to effeminate. Because it's easy to be camp or queen. Anyone can do that. What's difficult is to play feminine.
When you see a singer on stage who is 100% committed to the personality, character and temperament of the role being sung, it's truly awesome and very powerful.
Normally when I'm sent a script I'll read it through to see how it hangs as a story and then I'll go back and read it through again and look at the character.
I guess I'm attracted and repelled by isolation. It scares me. And it's why I tend to write about older characters, too, because for them the stakes are somewhat higher.
Batman and Superman are very different characters but they're both iconic and elemental. Finding the right story for them both is the key.
TV is a different animal these days. You can bring together really smart writing and directing, in-depth character development and really meaty political and emotional stories.
I play very sweet characters, so people look at me like I'm the kid from 'The Wonder Years,' rather than Brad Pitt.
The idea of goodies and baddies has always fascinated me, and what people consider to be a goodie or a baddie, because I've never seen any of my characters as baddies.
There's something to play if there's conflict going on. Whatever that conflict is, that's where drama is; if the character is grappling with something you've got something to play, there's layers to it.
It's really interesting that, in 'The Avengers,' the character that people relate to is The Hulk, and I think the reason why they relate to The Hulk is because he's fragile and human and faulty.
I want my characters to really overuse their coping mechanisms to the point where they break down within 300 pages.
The third person allows characters to really attack themselves. We all do this - attack ourselves - every hour of our lives.
I thought about writing the character as male, but then I would be forced to portray him as a woman in a man's body.
