You establish a technique on how to develop characters. Everyone does it their own way, and that's what makes it fun.
Whether it's someone struggling with mental illness, someone struggling with poverty or struggling with their own limitations in their social behaviors, for some reason, I'm drawn to characters like that.
No one has a name in 'The Road.' Like Cormac McCarthy's novel from which it's adapted, 'The Road' features characters such as the man, the boy, the wife, the old man and the veteran.
I feel like if a film is well-written, then the character's arc is complete. There really is very little room to expand on that afterwards.
It's a strange thing, but you get this click in your brain; the wonderful feeling that the entirety of a character is suddenly available and accessible to you.
You are always hoping that movie audiences are interested in characters and interested in story values rather than just mindless special effects. But you never know.
Like any other composer of opera, I choose a subject not for polemical reasons, but because it contains vivid characters in highly charged dramatic situations.
When you do a movie, you go to the location and get into your costume. It's part of your metamorphosis into your character, and it just made sense to do it.
Pain seems to be easier, or melancholy seems to be easier to portray in a character. I don't know if that's because I'm a human being or because I'm an Irishman or both.
Most of the books that feature supernatural characters blending with the modern world and are usually set in big cities.
You get the part, sign the contract and start to realize millions of people follow this guy and know more about your character than you do.
I mean, I do believe that when you walk on the stage, or onto the screen, that's your character - not you. So it's an interesting challenge, an interesting line to walk.
I've always regarded it as a test of character to dislike the Kennedys. I don't really respect anyone who falls for Camelot.
When I first got the audition for Shado, I went online and subscribed to DC Comics and read a bunch on Shado and the Yakuza, just to get to know her character better.
My characters don't always know more than the reader does, because my readers get the best seat in Paper House.
Writing is just building a new world – one character, one place, one maniac at a time.
Like most people, I'm fascinated by characters who are completely flawed personalities, riven by anguish and doubt, and are psychologically suspect.
I never like to think of any character as being over. I'm always thinking of different ways of bringing them back.
Those with dementia are still people and they still have stories and they still have character and they're all individuals and they're all unique. And they just need to be interacted with on a human level.
No matter how heinous someone's behaviour, if you make them a comic character, you can't expect people to hate them.
Then I wanted the character to be feminine as opposed to effeminate. Because it's easy to be camp or queen. Anyone can do that. What's difficult is to play feminine.
