I am far from perfect, but I have something else. I heard that people in the industry are longing for more personality and diversity. Perhaps I am more a 'character' than a model.
I talked with Quentin about where the character came from, and he told me Kansas City. I don't know how somebody talks from Kansas City, so I made him from New York.
Katniss Everdeen owes her last name to Bathsheba Everdene, the lead character in 'Far From the Madding Crowd.' The two are very different, but both struggle with knowing their hearts.
NC passed law against global warming science, therefore it's not happening. So I'm ignoring Twitter's 140-character limit, so it's not happ
I'm a writer. I'm a Christian. I like sex. But I haven't had it. I believe in waiting until marriage. But that doesn't mean I want my characters to.
When I'm creating characters, I definitely think of theme songs. Writing for me is very visual, so I sometimes think of it in terms of a movie with a soundtrack, and try to transfer that to words.
I certainly wear my heart on my sleeve, and I think that comes out in the characters that I play. There's a yearning, or something, that comes out of me that people relate to.
At the end of the day, it's really, really difficult to make a brand-new show, to write a pilot where you have to introduce characters and everyone has to kind of be dynamic and have something different for themselves.
I really want to do a dark character. Not really a bad guy, but someone dark and mysterious. Where everyone says, 'Ooh, it has to be her!' and at the end you find out it isn't. Just someone who looks guilty.
I hadn't even watched '24' before, and the audition was kind of far away. When I got the material, there wasn't a character yet, so it almost seemed like an assistant to Jack Bauer saying, 'Yes, sir. No, sir.'
Man's natural character is to imitate; that of the sensitive man is to resemble as closely as possible the person whom he loves. It is only by imitating the vices of others that I have earned my misfortunes.
The pilot is a sales tool; it introduces you to the characters and might set the template for what the show is meant to be, but there's so many boxes you have to check off on a pilot that it can sort of hurt the storytelling in a way.
I've never felt powerful enough to write a true political novel, or deeply knowledgeable enough to draw a character like, say, Tolstoy's Prince Kutuzov.
I know it sounds silly, but in auditions for film or TV, the words aren't as important - you need to get into the character and have the gist of the scene. But in theater, if you don't do it word for word, then you throw off your scene partner.
I still have a problem with nuns. I follow them around like a kitten with a ball of yarn. After a while, all my characters become very close friends.
The test of any good fiction is that you should care something for the characters; the good to succeed, the bad to fail. The trouble with most fiction is that you want them all to land in hell together, as quickly as possible.
Every actor will tell you it's so much more fun to play the bad guy because usually those characters are more complex and more broad and more interesting, and have more sides to them.
Confident people, who understand comedy, improvise so much better than people who are scared. You can't be scared to improvise. You have to know your character, and then you have to let go.
You have to be careful so you don't make your character dull and predictable. Sometimes you have to bend the script a little... The bad guys are mostly the same on the paper... A bad guy wouldn't think of himself as bad.
If you know anything about James Whitcomb Riley, you know that Little Orphan Annie is one of the most fantastic characters who ever lived in America before Charlie Chaplin.
You're being cast for your acting ability. It's not based on the way your body functions. If you're playing a lead in a movie, it's for that character and they'll tailor it to you. In a dance company, you have to fit in a definite mold.
