As a writer, it's a great narrative tool to have that character who is slightly detached but at the same time observant of his reality, because I think that's pretty much what being a writer is - being there, watching and internalizing.
The English tradition offers the great tapestry novel, where you have the emotional aspect of a detective's personal life, the circumstances of the crime and, most important, the atmosphere of the English countryside that functions as another charact...
By a great man, however, we mean a man who, because of his spiritual gifts, his character, and other qualities, deserves to be called great and who as a result earns the power to influence others.
If you mentioned Hanna-Barbera to people, they said, 'Oh yeah, Flintstone, Yogi, Scooby-Doo, Jetsons,' and that was pretty much it. We have characters with very high recognition factors and great films, but no organized plans for really making the mo...
If screenwriters have to kill off a female character, they love to give her cancer. We've seen so many great actresses go down to the Big C: Ali MacGraw, Meryl Streep, Emma Thompson, Debra Winger, Susan Sarandon.
With both Caddyshack and Vacation, it's not like the subjects were serious enough that they engaged my interest for another round. I love the characters, and the actors were great, but I didn't see the need to make another Vacation movie.
That's the great thing about a series: you're driving to work, and you have an idea for a story for your characters, and you can go into work, and it's gonna be a television show. I mean that's what's great about the job.
Mike Leigh encourages you to choose a person that you know to base your character on. You write a whole list of people that you know and you go through that list in great depth with him. And then he chooses one of those people from your list.
I'm not just saying this because I'm in the movie, but I really would recommend 'Secretariat.' It's fun, inspiring, and it's a great movie to take your little kids, brothers, sisters, or nieces and nephews to see that actually has real people in it a...
I'm a great planner, so before I ever write chapter 1, I work out what happens in every chapter and who the characters are. I usually spend a year on the outline.
I approach film no differently than I approach a role. I want to make sure the movie is right, the characters are right, I can really bring something to it as a visionary, a storyteller. It's great to point a camera, but can you tell a story?
I have great editors, and I always have. Somehow, great editors ask the right questions or pose things to you that get you to write better. It's a dance between you, your characters, and your editor.
What appealed to me about 'The Loved Ones' script was that it had this really theatrical element to it. I thought that the scope of this character is so broad, and there is so much fun to be had playing a crazy teenage loner. It was a great way to ex...
I found it very easy to transform into creeps and weirdos and losers and goof-balls, and I'm happy to play eccentric kinds of characters, and I have a great affinity for the outsider, but I definitely am about expanding my range as well.
It would be nice to say the rich people, the fancy people, all behaved like bastards and the poor slobs all came through like heroes. But as a matter of fact, sometimes the poor slobs behave like slobs and the great, noble, privileged characters come...
I write on a very strict 2-hour-a-day schedule, and I really respond to structure and invented rules. So even if I'm finding out good information on a character, I will stop when I'm set to stop.
Good character consists of recognizing the selfishness that inheres in each of us and trying to balance it against the altruism to which we should all aspire. It is a difficult balance to strike, but no definition of goodness can be complete without ...
I want to play some really good, interesting, crazy characters. I want to take some chances. I want to take risks. I want to have fun and just keep working. That's all I really care about.
In 1977, I wrote a series of poems about a character, Black Bart, a former cattle rustler-turned-alchemist. A good friend, Claude Purdy, who is a stage director, suggested I turn the poems into a play.
The Olympics were produced absolutely the same way from 1960 through 1988. It was always the Western World against the Eastern Bloc. You didn't even have to spend one second developing the character of any of the Eastern Bloc athletes. It was just go...
One of the things that separates a good genre movie from a bad genre movie, I always think, ironically, is when you care about the people. The dime a dozen ones are where you don't have any awareness of the character.
