I was very limited in what I could do with flying saucers, because they're just a metal disc. I had to try and put character in as if they were intelligently guided.
I'm much more interested in lesser-known eccentrics and characters and performers. Like Matthew Buchinger, who was born in Germany in 1674, had no arms or legs and yet did magic, and had 14 kids, and made the most extraordinary calligraphy.
I shy away from plot structure that depends on the characters behaving in ways that are going to eventually be explained by their childhood, or by some recent trauma or event. People are incredibly complicated. Who knows why they are the way they are...
I have things planned for every character like what they're doing down the road and coming to different realizations but I don't have how they overlap.
In 1996, Shakespeare's 'Twelfth Night' was removed from classrooms after a school board passed a 'prohibition of alternative lifestyle instruction' act. Apparently, a young female character disguised as a boy was a danger to the youth of Merrimack, N...
I'm playing a very strong character, it's the story of the woman Polish Jews out of the Warsaw ghetto. I've just begun my weapons training and the SAS type training that's getting me fit.
Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it's all fitted to the action, to the script, to the characters.
I do build my own backstory as an actor. It's important to know where your characters have come from in order to know where they're going - in order to exist in that state of being.
You know, I've always just made the choices on my characters based on my connection to them, and I've made decisions that maybe other people haven't understood; why I passed on something, for instance.
Personally, I believe “Young Adult” to be an arbitrary title that means the book "Can be enjoyed by anyone/Has a main character who’s not quite an adult/Isn’t really boring.
Giving voice to marginalised characters is extremely important to me. I want to explore the pain of disenfranchisement, the social strata and boundaries we create and how to make them more permeable.
Every story I write starts with a dilemma or a theme. Once I am convinced that this is the issue that is perturbing my thoughts, I start to look for characters capable of representing it.
I hate the analyzing thing. People say, 'Why do you think your character did that? I don't know. I'm not an analyst, and they're not in psychotherapy. Unless it's a film where they're in therapy.
If I were to continue on with 'The Host,' which is a possibility, there are characters and stories that could continue... If I went ahead with that, it would be two more... Next would be 'The Soul,' and then 'The Seeker.'
It's easier to play a dim character, for me, because I have a natural bent for comedy. It's not intrinsic for me to be crafty, so I would have to go outside for a source of origin. I think of myself as pretty dim.
I know what I want to achieve in each book and the major points, but I don't plan right down to the chapters. I think that the characters write themselves in some degree.
There's nothing worse - I don't like listening to actors talk about the process, especially when - I mean, for me I've played a lot of guys, dudes, boys in a sense and this was a challenge for me just to play that official character.
You're used to having a camera in your face when you're playing a character - it's like having a mask on. But when you have to be you, you're so worried you'll make an idiot of yourself. Acting is a kind of escapism.
There's this sense of excitement because you invent and control the characters. You decide whether they live or die. I find this type of creative process tremendously stimulating.
When I tried to play characters that strayed from who I am it ended in disaster. People didn't expect me in comedies or musicals.
I have no problem in moving a date one way or another or coming up with a subplot that gets my characters in (or out) of a fix more rambunctiously than the extant records show.
