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.
So you eat, you sleep, and then this wonderful child comes out, but you don't feel like you have any control over that process, over her, over her character and who she is.
We've carried that over into the visual development as well. We've designed quite an exotic cast of characters, but the last thing we want is to dictate to the players how their PCs should look. What we want to do is inspire.
When I read a script or I see a character, I don't necessarily see the arc of her, that by the end she is this person, she's different from she was in the beginning. I guess it's more a subconscious understanding of that arc.
