A Quote by Tony Todd

Whenever I do something, particularly if it's a cameo, I make sure that I have a backstory written out so that I can talk to the director intelligent and try to communicate a three-dimensional character.
For me, the best characters are the ones that feel fully formed inside and out, so I try to have a very clear vision of exactly what they would wear, top to bottom, who they are, what their backstory is, what their family situation is, who are their friends, just creating as much of a three-dimensional character [as possible]. Because I think you could do a very broad character, but as long as there's some emotional truth to them you can get away with really crazy things.
Since I found that one could make a case shadow from a three-dimensional thing, any object whatsoever - just as the projecting of the sun on the earth makes two dimensions - I thought that by simple intellectual analogy, the fourth dimension could project an object of three dimensions, or, to put it another way, any three-dimensional object, which we see dispassionately, is a projection of something four-dimensional, something we are not familiar with.
Before I accept a job, I always talk to folks about it. Why does he kill these 22 people? If they say, What difference does it make? I know we have nothing more to talk about. A character has to be three-dimensional.
Before I accept a job, I always talk to folks about it. 'Why does he kill these 22 people?' If they say, 'What difference does it make?' I know we have nothing more to talk about. A character has to be three-dimensional.
With most good scripts and good shows, they expect the actor to bring some of their ideas to the backstory of the character. It's always a good collaboration between the actor and the writer and the director to try stuff out during the process.
I read the script and try not to bring anything personal into it. I make notes, talk to the director and we decide what kinds of shades should be in the character.
I mean, can I really create a full, three-dimensional character? I don't know anymore. I'm certainly going to try.
When I was acting, I got trained in creating a character as a three-dimensional person. If you're doing it right you should be able to draw an audience into the character's world and make them feel their fears.
This is a corny actor thing to say, but the first step is that you can't judge the character that you're playing. If it's built in three-dimensional fashion, you'll just play a character who's going out and seeking the best version of their life that they can find. That gives the character an accessibility that everyone can identify with.
I love the fact that there are more and more young people out there who still want to make a flat two-dimensional surface come alive with three dimensional magic.
I love making the backstory for myself. I think it's important. Every part I play, I work on the backstory. If it's fully written out in the script, or there are intimations of it in the script, fine. If not, fine, no problem. I'll fill it in, or I'll create what it is.
I try to construct some kind of backstory for my character so that I have an idea of the life of that character - not just from the moment when the scene starts, but from before.
It was interesting to have humanoid villains that were rooted in our three-dimensional reality... or four dimensional reality, I'm not sure which!
If a shadow is a two-dimensional projection of the three-dimensional world, then the three-dimensional world as we know it is the projection of the four-dimensional Universe.
First, you have to be intelligent. I have never met a successful director who isn't intelligent. A director who is not intelligent might have one hit picture, but he won't be able to follow it up. So I look for intelligence.
There is something I feel when I animate something; you can never really understand the character you're animating unless you've had the opportunity to turn it around. Once you've done that, you know it is a three-dimensional object.
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