But I also wanted to give them an intelligent emotional journey, without having to suspend reality - to be able to look at those characters and see reasons for the relationships and why what happens happens.
I didn't even realize this at first, but there's almost no central character in any of my 24 books who doesn't have a dead mother or a lost parent.
A discrete series is a series of terms each of which is empirically derived, each one of which is empirically true. And this is the reason for the fragmentary character of those poems.
Inside of all the makeup and the character and makeup, it's you, and I think that's what the audience is really interested in... you, how you're going to cope with the situation, the obstacles, the troubles that the writer put in front of you.
What makes characters real are details, and if you're crafting a person from scratch, you're probably not going to pay as much attention to a question like, 'Does this person bite their nails?'
You know it's my job to visualize, what is literal or audible, so I designed all the characters, and I designed what they do and how they should do it and so on.
That's what fiction writers do: create characters and do terrible things to them for the entertainment of others. If they feel guilty enough, they write happy endings.
I'm a fan of the western genre. When I see a character actor, I see a whole movie behind a scene before and after. There's a whole other movie behind it.
I try not to think too much about where my voice comes from. I'm channeling characters and emotion to come up with beautiful words that tell a story.
I've done literally 100, 150 different characters. Some of them have only appeared for a line or three. But the point is, every sound I can make has been harvested.
Education commences at the mother's knee, and every word spoken within the hearing of children tends toward the formation of character.
You learn to rely on a few basic movements and use your voice to the greatest extent possible to convey your emotions. So there was a technical challenge there and a responsibility to create a character from behind the mask.
I'm always attracted to lower budget, not because it's lower budget, but because they tend to be better scripts. It's the scripts that tend to be the small arthouse film that tend to be more actor-led and character driven.
Encourage literally came from "in courage." The courage is put "into" you from outside. Our character and abilities grow through internalizing from others what we do not possess in ourselves.
I think for anybody reading the book they're going to get an idea in their heads of all those characters, and I think that once that gets fixed, it's quite hard to shake.
I've been trying to make a difference as an actor. I want to play characters that move people, have them look at their lives differently, or give them an escape.
When I try to understand somebody, create a character, I fall into them. When I think writers are telling me what to think, I get harrumphy.
Many people are taking 2D games and making them into 3D games by recreating the characters in polygons. But the gameplay's still the same, and that's not what they should be doing.
Character cannot be developed in ease and quiet. Only through experience of trial and suffering can the soul be strengthened, vision cleared, ambition inspired, and success achieved.
I never, never lend any of my own clothes for parts any more because you lose your clothes; they become the characters' clothes, and you can never wear them again.
Even when I became the typical shy adolescent, I never minded performing. I felt there was a kind of safety, a protection about being on stage, about losing myself in another character.
