A Quote by Jeph Loeb
For Marvel, we've never looked at any of our characters in terms of gender, race, or religion. It truly is about, who is the best character for the story? If that character happens to be a woman, fantastic.
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I abhor badly-written characters and any character, be it man, woman, any character in the film. If it is a well-written character, it will come across as strong.
I'd like to think that the door is always open for just the best actor for the role, you know? Race or gender shouldn't have anything to do with it, unless the character or story is focused on that for some particular reason.
A woman can be demure, lady-like and the most prim and proper character, and still have a toughness and resiliency as apparent as a superhero-type female character or a warrior or soldier type. It's all about the story, the character, and the course of events in that piece of work and how that character is presented.
Ultimately, any character you write - no matter how fantastic or alien - is an extension of yourself. When our characters reflect the truth of our souls and psyches, they become real and compelling. The wonderful paradox is that the characters then take on lives of their own, separate from their creators. That's where the magic comes in.
We seek to craft characters who inspire empathy: characters our audience will care for and, as a result, will care about what happens to them and thus will share the journey we have charted. A story, after all, is the character's journey.
Obviously making Peter Parker suddenly bisexual or gay wouldn't really make logical or dramatic sense. It was a hypothetical kind of question about the nature of these comic book characters and the nature of this particular character, and whether sexuality, race, any of those things makes any difference to the character of Peter Parker.
I mean, even in terms of the Marvel universe, this [Ancient One character] is going on a side street into a major piazza that Marvel hasn't even been to before, because it's all about creation and not so much about destruction and forestalling destruction, it's about your mind.
We owe it to the audience to put more characters onscreen that reflect them and that speak to issues of race and gender as well as to a character's sexual preference.
We need to stop judging individuals based on their race, profession, gender, religion, or anything other than their own individual behavior and character.
Many writers write across difference of one kind or another. Sometimes the difference is large and recognizable: gender, or race, or religion, or sexuality. And sometimes the differences are smaller. ... Where authors get into trouble is in trying to make those different characters stand in for whole groups of people, or for creating characters only to fetishize or explore their supposed otherness. Your character can be wildly different from you, as long as he's written with respect and, moreover, specificity.
To me, it always comes down to character and script and then director. If a character belongs to me, it's mine. We belong to each other, and I feel a fierce need to tell that story, and it just so happens that a lot of these characters have been residing in pretty dark worlds.
The first thing that happens is the cleansing of the former character. I don't think a lot of actors talk about it, but there is usually a process where you essentially purge yourself of the character played prior to the movie. Then you want to think about what the character represents, and you write down all of the elements about this character and then take the time to find some synchronicity and start breathing the character.
Real religion is about, developing real character; character of compassion, character of humility, the character of determination to grow in all circumstances.
The endless teen franchises that come out of Hollywood... more often than not, the central character doesn't have any discernible character traits. They're just the young, good-looking guy who goes on this journey. They're always played by fantastic young actors, but ultimately, they're not very interesting characters.
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 am a character actor and one of my characters just happens to be a loud, vulgar woman.
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