A Quote by Nancy Kress
In fiction, a reaction shot is a brief portrayal of how your character reacts to something that someone else has done. In contrast to more direct character building, your guy doesn't initiate the sequence; he completes it. Exactly how he completes it can tell readers a lot about him.
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Stage is so important because it teaches me how to convey character with words - how to convey how a character reacts by the way they appear on stage. I can usually tell a playwright from someone who has never written for the stage. Did the character work? Did the dialogue reveal who the character is?
The irony is that the more specific you are in the portrayal of character, the more like other people you are. In the same way, the more you think about how alone you are in this life, you realise how much a brother and sister everyone else is.
Your character is your destiny. Building character is a task for the brave and dedicated. There are no shortcuts when it comes to building character. If you wish to cure minimalism in your own life, to develop a complete commitment to excellence and an absolute rejection of mediocrity, the question you need to start asking yourself is, "What is the most I can do?"
When you're building a character, or at least when I'm building a character, you start saying, 'How am I going to make people like him?'
When something arrives, you have no idea what's in it, which is good. And then, it's is the story leaps off the page at you and how your character functions within it. There could be just one scene and if it's wonderful, it doesn't matter how much you're working on it because you just want to be in it. It's really about what your character's day to day world looks like, and if you feel like that's something that's complete, and that you'd like to inhabit for awhile. You'll know by a couple of scenes in. If the character grabs you, you run with it.
It was seriously just a name. They didn’t tell you what to do. They didn’t tell you how they wanted the character to be - nothing. You went in to audition for this character name and that was it. When I started, before I came onto the set, I went to Gene Roddenberry and said: hey, what do you want from this guy? Who is he? And being as smart as he is, he said: don’t listen to what you’ve heard or read or seen in the past, nothing. Just make the character your own. And that’s what I did.
Life as a performance is just a way to look at life choices as character choices. Every morning you choose what to wear, you choose how to wear your hair, you choose your friends, you more or less choose your profession, and how hard you will work at it. Those are all things that an actor decides about his character when he is performing, and they are things that we decide in life. We create our "character."
One job I did turn down was 'How I Met Your Mother.' My character was 'creepy gay guy.' That was the character. The script said, 'Creepy gay guy gets in elevator every day with Jason Segel character and he's just being creepy.'
I have done scenes as Harvey Two-Face. It's interesting. I won't tell you exactly what we're going for, but I think that I can say that it will use all of today's technology to create this character. He's going to be interesting, and I think that's what makes this character important in the movie-you get to see him as he was before, as in the comic books. Harvey is a very good guy in the comic books. He's judicious. He cares. He's passionate about what he loves and then he turns into this character. So you will see that in this film.
I'm very much into the costuming of any character that I portray and it's one of the great things about making movies is it's a collaborative art form so you get all these artists who are looking specifically about for this instance your character's costume and what that might tell about your character.
That is many poets don't know how to tell a story and they don't have a sense of how to put things in order to tell a story and we thought the poets could learn from fiction writers something about developing a character over time who wasn't just you and also creating a narrative structure.
As a character actor, you have to understand that it's not about you. You have to remember it's about someone else's life. And your character is just passing through.
I don't know exactly what a prayer is. I do know how to pay attention, how to fall down into the grass, how to kneel down in the grass, how to be idle and blessed, how to stroll through the fields, which is what I have been doing all day. Tell me, what else should I have done? Doesn't everything die at last, and too soon? Tell me, what is it you plan to do with your one wild and precious life?
When I say 'yes' to a movie it's usually because, to a greater or lesser extent, it's because I'm enthusiastic about the character. How well that character ultimately comes off depends on a lot of things: your relationship with the director and so on. But at first, you're on board because you think you can do something with it.
How do you tell someone that you weren't the person he thought you were? And more importantly, how did you tell him that you'd meant the things you'd said, when everything else about you turned out to be a lie.
I have always been a big fan of the character and am more of a moviegoer than a comic book guy, there is always something about the character of Batman that is very elemental. There is a great powerful myth to the character and romantic element that draws from a lot of literary sources
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