I think for anybody reading the book they're going to get an idea in their heads of all those characters, and I think that once that gets fixed, it's quite hard to shake.
I've been trying to make a difference as an actor. I want to play characters that move people, have them look at their lives differently, or give them an escape.
When I try to understand somebody, create a character, I fall into them. When I think writers are telling me what to think, I get harrumphy.
Many people are taking 2D games and making them into 3D games by recreating the characters in polygons. But the gameplay's still the same, and that's not what they should be doing.
Character cannot be developed in ease and quiet. Only through experience of trial and suffering can the soul be strengthened, vision cleared, ambition inspired, and success achieved.
I never, never lend any of my own clothes for parts any more because you lose your clothes; they become the characters' clothes, and you can never wear them again.
Even when I became the typical shy adolescent, I never minded performing. I felt there was a kind of safety, a protection about being on stage, about losing myself in another character.
The minute I ever start thinking about what a character would do is the minute I bring my ego into play. It's the minute I'm putting a judgment on something.
A young woman has young claws, well sharpened. If she has character, that is. And if she hasn't so much the worse for you.
I buy tons of magazines. They're a big part of how I research characters. And I keep them around and go back to them years later. I just have stacks.
You want to feel that your reader does identify with the characters so that there's a real entry into the story - that some quality speaks to the individual.
I feel the need of attaining the maximum of intensity with the minimum of means. It is this which has led me to give my painting a character of even greater bareness.
What helps writers, and ultimately, obviously, helps the actors - who should serve the words that the writer puts on the page - is if the character has damages, because then the writers can cultivate and excavate, like a dentist going into a tooth.
What makes literature interesting is that it does not survive its translation. The characters in a novel are made out of the sentences. That's what their substance is.
I like the opportunity to play characters who have these dark sides but make the audience empathize with them. You want them to think there is some kind of sweeter, softer side to it.
I've never thought of myself as a classic leading man. I'm a character actor who happens to play leading roles. Come on, look at me. I'm really Desperate Dan.
I never want to sort of put all the cards on the table all at once, because that's somehow there's always a journey to go on. There's always something to be revealed, in my mind, about characters.
I grew up watching 'Magnum, P.I.' and shows like that, where you could develop a character over eight seasons, with stories along the way.
I try to master every facet of a character in order to build a safety net for myself, so I can go on to take more risks to create someone really distinct.
In most films - especially in regards to the protagonist - really from the get-go they set up some scenario that endears that character to the audience. Or imbues him with some nobility or heroism or something.
When I think of 'Nightmare on Elm Street,' there was a warmth to those teenagers that I related to. They were not aware that they were in the middle of a horror film, and I really loved those characters and I empathized with them.
