A Quote by Asghar Farhadi
I don't have a problem if someone else were to say that one of my characters is a good one and another one is not and is a bad one. I try myself not to have any judgment towards my characters, but certainly the audience might.
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In general, I think writing characters, no one is 100 percent good or bad, and certainly, the bad characters never think they're bad themselves. Even the worst characters don't feel like they're bad guys on the inside.
The American horror movies are more moralistic, they have not only good characters, but characters where the ultimate danger is death. What I like about European cinema is they have another sense of what's good, what's bad, and sometimes all the characters are far more complex than just that. It's less binary, the Giallo genre.
If you're looking at my other major science fiction roles - the Doctor on 'Star Trek' and certainly Woolsey on 'Stargate' - I often play characters that might be good theorists and good thinkers, but you wouldn't call either of them very macho characters.
I start with an idea or a problem or a conflict, or even a situation that might be pertinent to the lives of young people, then the characters grow from that point. I try to make strong characters that change and develop and learn from their mistakes.
I've written original material before, where I've come up with the idea and the characters myself, and that's definitely very different to working with someone else's characters and stories.
I tend to enjoy roles that I very closely identify with: fringe people and complicated characters, who might even be bad guys, or bad characters that have one redeeming quality.
You never want to be in a position where your reader feels like you're passing judgment on your own characters. Any novel where you feel like the author is talking to the reader over the characters' heads is in a bad place.
'Orphan Black' allows for people to have debates and theories and allegiances to different characters - to trust characters and hate other characters - but it doesn't tell you who is good or bad or right or wrong. That's the most exciting storytelling, in my book.
'Orphan Black' allows for people to have debates and theories and allegiances to different characters; to trust characters and hate other characters, but it doesn't tell you who is good or bad or right or wrong. That's the most exciting storytelling in my book.
Any script, even like The Founder, if it's something that I imagine myself playing this character or that character - any of the characters, basically - how do we flesh these characters out to be good enough to have amazing actors that come in that make it really difficult for them to say no? Even though I'm not right for any of those parts, that's just kind of how we go about it.
I think the characters Nick and Solomon, the characters on Fear Street,' were definitely further from myself. But I think ultimately I do try to look for the gristle in every character.
I want to try not to repeat myself. But then I seem to do it continuously in my films. It's not something I make any effort to do. I just want to make films that are personal, but interesting to an audience. I feel I get criticized for style over substance, and for details that get in the way of the characters. But every decision I make is how to bring those characters forward.
Part of the core of my system, is a way of trying to give the characters more control. If I'm practicing making up what the characters will do, it's never good. In fact, when I catch myself doing that, I try to get rid of that section, and try and let them start making the decisions.
But, it takes some of the characters to some very dark places, and they start doing things that they might not do, if they were in regular circumstances. Their true humanity comes out - the good and the bad. Something else that was fun was that every director would come in so excited to go with their own creativity.
I think there's grays in characters if you look at all the great characters, those characters that have those layers of being good and being bad and what's the struggle. It's always more interesting to watch.
So the fact that there's someone who's planning what happens to the characters, writing it down, means that the characters always have a fate. And when we think about fate, we tend think of it as the thing we would have if we were literary characters, that is, if there were somebody out there, writing us.
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