Just because we're fictional characters doesn't mean you can pick us up and move us anywhere you want.--the people of Lake Woebegon
The important thing for me when I look at characters is to consider the kind of constraints placed upon them. Now, me personally, I don't like to have a lot of constraints placed upon me.
But the character was so successful, that first one, that they wrote him again and he came in right at the end of the first year in a show called THE BOX. I was up for the Emmy for that one too.
What gives it its human character is that the individual through language addresses himself in the role of the others in the group and thus becomes aware of them in his own conduct.
The scene is never really about moving the story forward on 'Breaking Bad.' That's the functional veneer of the scene, but it's always about what's going on with the characters.
If the people should elect, they will never fail to prefer some man of distinguished character, or services; some man, if he might so speak of continental reputation.
It's the emotional trigger points that are important to me because I know if I could believe in the characters and try and imagine how they felt then I'd be able to do something quite honest.
But I also wanted to give them an intelligent emotional journey, without having to suspend reality - to be able to look at those characters and see reasons for the relationships and why what happens happens.
I didn't even realize this at first, but there's almost no central character in any of my 24 books who doesn't have a dead mother or a lost parent.
A discrete series is a series of terms each of which is empirically derived, each one of which is empirically true. And this is the reason for the fragmentary character of those poems.
Inside of all the makeup and the character and makeup, it's you, and I think that's what the audience is really interested in... you, how you're going to cope with the situation, the obstacles, the troubles that the writer put in front of you.
What makes characters real are details, and if you're crafting a person from scratch, you're probably not going to pay as much attention to a question like, 'Does this person bite their nails?'
You know it's my job to visualize, what is literal or audible, so I designed all the characters, and I designed what they do and how they should do it and so on.
That's what fiction writers do: create characters and do terrible things to them for the entertainment of others. If they feel guilty enough, they write happy endings.
I'm a fan of the western genre. When I see a character actor, I see a whole movie behind a scene before and after. There's a whole other movie behind it.
I try not to think too much about where my voice comes from. I'm channeling characters and emotion to come up with beautiful words that tell a story.
I've done literally 100, 150 different characters. Some of them have only appeared for a line or three. But the point is, every sound I can make has been harvested.
Education commences at the mother's knee, and every word spoken within the hearing of children tends toward the formation of character.
You learn to rely on a few basic movements and use your voice to the greatest extent possible to convey your emotions. So there was a technical challenge there and a responsibility to create a character from behind the mask.
I'm always attracted to lower budget, not because it's lower budget, but because they tend to be better scripts. It's the scripts that tend to be the small arthouse film that tend to be more actor-led and character driven.
Encourage literally came from "in courage." The courage is put "into" you from outside. Our character and abilities grow through internalizing from others what we do not possess in ourselves.
