The beautiful thing about acting is that you can just dive into the character, strip yourself of everything, and just get in there and perfect your craft.
When I play supernatural characters in 'Ghost Rider' or 'City Of Angels,' the possibilities are limitless. The possibilities are endless, you can do so much with that.
One thing George R. R. Martin does is surprising things to main characters. But he says so himself.
In all my characters, I try to find an iota of myself, and in Castle, I found a lot. He gets away with a lot, so that's fun.
From Ernest Hemingway's stories, I learned to listen within my stories for what went unsaid by my characters.
I'm a happy-go-lucky character. I'm not that miserable. But I can never let anyone into my world.
I have always written about characters who fall somewhere in the spectrum between solitary and totally alienated.
The benefits of the accomplished journey cannot be weighed in terms of perfect moments, but in terms of how this journey affects and changes our character.
I thought I would keep the first name Susan and change the last name but I picked up this book and as I opened it the lead character in it was called Morgan Brittany.
When you're acting in a scene, you're focused on doing the scene. You can't break character and go, 'Oh my God, I love what you're doing!'
I feel like any experience you can have which adds to your repertoire of things you've done and can add to your character - I'm willing to try.
In my books, I never portray violence as a reasonable solution to a problem. If the lead characters in the story are driven to it, it's at the extreme end of their experience.
Acting is a very personal process. It has to do with expressing your own personality, and discovering the character you're playing through your own experience - so we're all different.
I don't theorize too much. I sort of let the experience sink in, and I have to discover what the character is by doing it, and having those thoughts that she's thinking.
There's always something more to be accomplished with a character. Theater is a human experience. There's nothing shellacked or finished off about it. I guess that's why it always draws me back.
Reading a novel in which all characters illustrate patience, hard work, chastity, and delayed gratification could be a pretty dull experience.
We had a script that was really solid and we knew how we were going to shoot and how the energy of it was going to go. So it gave us a lot of freedom to use the camera as a character.
It's been a lot of fun from script to script to get inside the mythology of 'Grimm.' We've been given a lot of freedom to explore the mythology as well as the backstories and interpersonal connections of the characters.
I think our failure in the production of good town churches of distinctive character must have struck you often, as it has me, when contrasted with our comparative success in country churches.
I always find that really interesting, you know, when I get to see characters that I love in TV and film and theater around their family.
The story follows the whole family. But pretty much all the characters who are in jail have written a book about it, so you've got their perspective of it, however skewed they want you to see it.