A Quote by Rose McIver
My school of thought with going into a character is that you have to understand where they come from, and you have to empathize with them.
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The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.
If you have a character that seems to be all perfect, it's hard to relate to him because when you read a story you really want to empathize with the character that you are reading about. And it's hard to empathize with someone who is flawless and who has no problems.
Representation is actually when the character doesn't have lines, but the camera is lingering on them in their thoughts after something happened, and then we get to see them walk to their car. You really need to follow a character in order to understand what they're going through.
It's a basic tenet you learn at drama school. If you're playing someone evil, you can't make an objective moral judgment. You've got to get inside the character and empathize as much as possible.
When you are writing, you have to love all your characters. If you're writing something from a minor character's point of view, you really need to stop and say the purpose of this character isn't to be somebody's sidekick or to come in and put the horse in the stable. The purpose of this character is you're getting a little window into that character's life and that character's day. You have to write them as if they're not a minor character, because they do have their own things going on.
I'm a son of immigrants. I'm not going to reduce my commitment to immigration. But can I empathize with the fact that if your town was 95 percent all white and now it's down to 60, that that can scare you? Can I empathize with that? Yeah.
I liked 'Scream of the Banshee' because it was a real challenge. I thought, 'How am I going to pull off this character?' But, I also thought, 'Oh, man, I'm going to go for it.' He's got all the defects of character that an actor loves to play. So, I had a really great time.
Within a single scene, it seems to be unwise to have access to the inner reflections of more than one character. The reader generally needs a single character as the means of perception, as the character to whom the events are happening, as the character with whom he is to empathize in order to have the events of the writing happen to him.
I'm Dr. David Hanson, and I build robots with character. And by that, I mean that I develop robots that are characters, but also robots that will eventually come to empathize with you.
What I'm really addicted to is getting people to understand that if their kids aren't competent readers coming out of middle school, it's really going to be hard for them in high school.
There have been times I thought that when I got a certain point in the story, a certain character was going to do a certain thing, only to get to that point and have the character make clear that he or she doesn't want to do that at all. That long phone conversation I thought the character was going to have? He hangs up the phone before the other person answers, and twenty pages of dialog I had half written in my head go out the window.
You can put things in prose and understand them one way, and then there's understanding it by knowing how it feels. Things aren't real until you can feel that, until you can empathize with them. That's what protagonists do in books.
It's always the last one because it's so present in your body. I liked Scream of the Banshee because it was a real challenge. I thought, "How am I going to pull off this character?" But, I also thought, "Oh, man, I'm going to go for it." He's got all the defects of character that an actor loves to play. So, I had a really great time.
I came to understand and observe that we're all going to face obstacles. We're going to have challenges. We're going to fail. We're going to have success. But all of it is going to ultimately be character-building. And it's not going to deter us from wanting to achieve, to strive, and be successful.
I thought I'd become a funeral director when I wasn't going to be an actor. I thought I would be good at helping some people with the grieving process and with trying to get them to talk about and understand who this person was.
The black experience, which has nothing to do with my play 'Angels in America,' allowed me to understand the Mormon character. He was the character that couldn't come out to his mother. It allowed me to understand emotional and closeted behavior, because you're so acutely aware of how you're perceived.
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