A Quote by Brad Anderson
I like characters who aren't typically heroic and come to some sort of epiphany about themselves.
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I suppose the textbook definition of an anti-hero is pretty straightforward - a protagonist who embodies not only heroic characteristics but also some characteristics typically deemed non-heroic, even villainous.
For whatever reason, gay characters, or characters that deal with sexuality issues, who are black, in 'black films'... are typically not dealt with with any sort of complexity. They're exoticized: their being gay is sort of the point.
The reader has information about the characters that the characters themselves don't have. We all have our secret sides. Even I come to understand things about the characters only through the writing process, as I am going along.
I do like characters that have flaws, some sort of pathos to them that they are trying to sort out.
I think the world is ready for people of color to take on more heroic and leading roles, and not always be the sidekick, the nemesis or any sort of stereotype of what a person of color can play typically in a Hollywood picture.
-- and it occurred to me that people who don't talk about themselves are limiting their own potential. They think they're guarding themselves for some sort of abstract dange, but they're actually allowing other people to decide who they are and what they're like.
The first thing, when I read the script, is that I need to care about what happens and feel compelled by the story and engaged by the characters. It needs to resonate with me, even if what the characters are going through is not something that I have experienced in my life. I have to feel like it has some sort of meaning to me.
You typically find stereotypical female characters that are people pleasers, where they are wives and girlfriends, typically, who are in the background.
For me, there's a bad year of getting started on something. You write bad stuff and it's awkward to throw it out, and you wait around to get some good ideas that maybe do come or don't come. Until eventually you get the voice and autonomy of the characters, the characters have personality, and they sort of pick up the weight and put it on their shoulders. That's when it becomes a little more fun.
After 'Prom Night' I did two movies where I was playing a prostitute. I gravitate towards characters that have some sort of inner turmoil or some sort of character arc. That's the great thing about acting, so many different things and being really diverse in your choices.
Heroic people take risks to themselves to help others. There's nothing heroic about accepting $5 million to go out and run around chasing a ball, although you may show fortitude or those other qualities while you do it.
I would love for people to think that I am as quick, clever, smart and heroic as the characters that I write, but those characters are characters.
Being a straight white guy in his, like, early twenties - there's some sort of thing about it. A sort of privilege, a sort of anger or something. You just say some really stupid things.
A lot of the characters I play seem to be lying to themselves in some way. They maybe present themselves as confident or good at something, but in reality, it's clear that they don't know what they're talking about.
I've never written a fiction before about real people. . . . I read everything that I could find by people who met them and tried to get some impression of them, but as always when you write fiction, even if you have completely fictitious characters, you start by thinking of what is plausible, what would they say, what would they be likely to do, what would they be likely to think. At some point, if it is every going to come to life, the characters seem to take over and start speaking themselves, and it happened with [COPENHAGEN].
I think it's very hard to talk about these characters in a closed-ended, sort of non-sequel way, especially characters like The Flash and Green Lantern, which have such rich, long histories.
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