I just write characters, and somehow they happen to be a boy and a girl. When the story is put together, and their characters interwoven, they do end up together somehow.
When you have to play a character that seems to be a relatively decent person and seems to be like yourself, I think the trick in that kind of character, so that you don't become a cliche, is to find where their weaknesses are.
If you can write a character who is attractive but morally reprehensible, then you've got a character. It's got to feel like people I know and it doesn't just become a bag of tricks.
One of my favourite films is called 'Lacombe Lucien,' directed by Louis Malle. The lead character in that film, like the lead characters in many '70s and '80s films, has a moral ambiguity to him.
Sometimes female characters start out as the wife or girlfriend, but then I realize, 'No, she's the book,' and she becomes a main character. I surrender the book to her.
I've never played a gay character on screen, so that would be interesting. I've never played a gay character, and that would fascinate me because I'm not gay, so that would interest me.
I think of myself as a character actor, compared to a straight actor. I know a character actor in England is pretty much the same as in the States; you're actually hired to put on terrible teeth and stuff like that.
Everyone can do a character the way they want to do it, unless the director tells them not to, which isn't very common. I like to do my characters, if it's not specific in the script, as myself.
I'm not interested in playing characters who see the world through my prism; I think the journey of understanding any character is to see how they tick and how they differ from you.
You put books out into the world, and people form their own visuals and images and attachments to characters; those characters become part of them, and they have their feelings about them.
I don't much believe in the idea of characters. I write with words, that is all. Whether those words are put in the mouth of this or that character does not matter to me.
You take what you know, and you put it through your own prism. If I play characters that break down or cry, it's Gary Oldman crying; it's not the character crying.
Well, I think it can be quite helpful to be working on a character who actually existed, historically. Of course, you might have material to study and help you create the character.
If you fall in love with a character, then you are actually falling in love with the author that wrote the character. Therefore, you could conclude that if you are said author, you are in love with yourself.
The advice that I usually give to young actors is that if you can create a character for the stage and keep that character fresh for at least 6 months that means you're doing the show eight times a week.
Novels usually evolve out of 'character.' Characters generate stories, and the shape of a novel is entirely imagined but should have an aesthetic coherence.
It's strange to look back over a full season. Our characters have accrued all these memories, but so have we, the actors. And sometimes the character memories and the actor memories bleed into each other.
Everything I've ever learned about acting - and I went to theater school - was about playing what the character wants and throwing yourself fully into going after what the character wants.
When you're building a character, or at least when I'm building a character, you start saying, 'How am I going to make people like him?'
I'm Dr. David Hanson, and I build robots with character. And by that, I mean that I develop robots that are characters, but also robots that will eventually come to empathize with you.
If you do a character that resonates enough, people are always going to see you as that character. It will just be up to me to make choices where I can flex other muscles.
