Besides the mistakes that are pointed out, I love the way readers become involved with the characters. When readers start asking about character motivations instead of concentrating on the special effects, it means you're connecting with them on a pe...
I just love to act. I like to get away, totally play a different character, someone you can get really involved in knowing. I've gotten really involved in some characters and written down little summaries of where they live and what their families ar...
In other people's books, I tend to love the really daredevil-y characters. I love Finnick from 'The Hunger Games.' And I think, probably, my favorite character of all time is Sherlock Holmes.
As human beings, of course, we're all compromised and complex and contradictory and if a screenplay can express those contradictions within a character and if there's room for me to express them, that's a part I'd love to play, so much more than a ch...
A lot of times, I feel like people come up to me because they think I'm like my character in 'Easy A', or because they've seen me in interviews, but really what they're a fan of is a movie or a character.
You have to always try to think about them like real people first, and not just heroes. They have to be real characters. As people do more and more superhero stuff, the characters are what distinguish it, just like in cop shows.
It's necessary to track characters all the way through an opera. If you're dealing with more than one or two characters, it's very easy to forget that the others have lives of their own that feed into the story.
I play a character in the WWE and everybody hates my character. I'm the evil villain bad guy. Whenever people meet me, they're like, 'Wow, you're such a nice guy. We never expected that.'
When you're doing a play that's fully produced, you have the benefit of rehearsing for four or five weeks, so you really get to live in the skin of the character for much longer than when you first start doing a character on TV.
I have this theory that the likeability question comes up so much more with female characters created by female authors than it does with male characters and male authors.
A good character is not only about the good person people know you to be. Your ability to tell the truth about how bad you had been is also a good character.
Sometimes when you're playing a very intense character, a disturbed character, you find other layers. That's much more interesting to me, rather than just playing 'intense.' I find it too boring.
The law of harvest is to reap more than you sow. Sow an act, and you reap a habit. Sow a habit and you reap a character. Sow a character and you reap a destiny.
In Halloween, I viewed the characters as simply normal teenagers. Laurie, Jamie Lee's character, was shy and somewhat repressed. And Michael Myers, the killer, is definitely repressed. They have certain similarities.
When you do a play, or even a movie, you have weeks to finesse your character. You really understand why they do what they do. In TV, you get new material weekly about your character.
I think you have to find the humanity in the character and then the deterioration is a part of the process - the journey of the character. It's like playing King Lear. You can start off as a nice old man who finishes up crazy.
Essentially and most simply put, plot is what the characters do to deal with the situation they are in. It is a logical sequence of events that grow from an initial incident that alters the status quo of the characters.
Creating characters is like throwing together ingredients for a recipe. I take characteristics I like and dislike in real people I know, or know of, and use them to embellish and define characters.
The characters that have greys are the more interesting characters. The hero who sometimes crosses the line and the villain who sometimes doesn't are just much more interesting.
I've always preferred writing about grey characters and human characters. Whether they are giants or elves or dwarves, or whatever they are, they're still human, and the human heart is still in conflict with the self.
When I'm writing from a character's viewpoint, in essence I become that character; I share their thoughts, I see the world through their eyes and try to feel everything they feel.
