Here, we have female directors and producers; in fact, one whole channel is run by a woman. Pakistani TV is progressive, and hence, characters that are shown are of today as well.
I need to have some depth in my characters. That's why they are all Bengalis. I can't imagine writing a book with someone called Saxena as the hero.
THE 52ND is a unique entry in the YA and Paranormal genres. With a diverse cast of characters, thrilling mythology, and a potential series ahead, Dela knocks it out of the park with THE 52ND.
Writers are in many ways like demi-gods. With one stroke of a pen they can give life to a character, or strike them from existence, with nary a twinge of grief at their passing.
Every good story needs a good, bad and lost soul. A people to fight for, an item to turn the tide of battle, an enigmatic character, a motivator/mentor, and an unlikely reluctant hero.
With Altman, he does discuss everything with you, but then leaves you to it and gives you full rein and lets you improvise and create a character while the camera is rolling.
I don't think a lot of actors talk about it, but there's usually a process where you essentially purge yourself of the character that you played prior to the movie.
I've been online doing all kinds of research and that seems to be the constant criticism, that Aibileen's accent was just too thick. And for me, I don't want anything to distract from the character.
The biggest research of all when I do a character is self-examination. You look at yourself and you ask, 'How am I similar to this person and how am I different?'
Taken together the Internet reads like the grandest character-driven novel humanity has ever known. Not much plot though.
This basic thing I always do: 'What happened between the character's birth, and page one of the script?' Anything that's not in the story, I'll fill in the blanks.
I really think that the 'Jersey Boys' musical - and this is just my opinion - lends itself to being cinematic in some way, because it's a jukebox musical; the characters break into song only for the scene transitions.
Each of us is meant to have a character all our own, to be what no other can exactly be, and do what no other can exactly do.
Every human being is intended to have a character of his own; to be what no others are, and to do what no other can do.
When I came up with the character of Wicket for 'Return Of The Jedi', which was my first film, I was a kid of 11 years old, and I basically was playing a very young Ewok.
For me, the short story is not a character sketch, a mouse trap, an epiphany, a slice of suburban life. It is the flowering of a symbol center. It is a poem grafted onto sturdier stock.
It's really about, oh come on, this guy wouldn't say that or he wouldn't do that, you know, it's about the characters, about the story, about the situation.
The hell to be endured hereafter, of which theology tells, is no worse than the hell we make for ourselves in this world by habitually fashioned our characters in the wrong way.
If I like the story and it's well written, and it's a character I want to play and they'll pay me, then I decide to do it.
If you can tell stories, create characters, devise incidents, and have sincerity and passion, it doesn't matter a damn how you write.
To purposely concoct older characters of a sunny disposition would be as much of a solecism as deliberately fabricating arrhythmic blacks, spendthrift Jews, slacker Japanese and so on.
