A Quote by William G. Tapply
Everything characters say or do is a clue to their personalities, their histories, and the forces that motivate them.
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The people who write official histories for the Army believe that a generation needs to pass before you can tackle the official history. It's useful to have some distance. Sources become available. Passions cool. It allows an opportunity to make some real assessments and judgments about personalities and characters.
If you have the personalities down, you understand them and identify with them; you can stick them in any situation and have a pretty good idea of how they're going to respond. Then it's just a matter of sanding and polishing up the jokes. But if you've got more ambiguous characters or stock stereotypes, the plastic comes through and they don't work as well. These two characters clicked for me almost immediately and I feel very comfortable working with them.
We have bodies. We have personalities. We have histories, stories and experiences. But we are not those things - we are Spirit.
First comes an idea. Then, characters begin to evolve out of the landscape of that idea. And then, finally, characters dominate: plot is simply a function of what these people might do or be. Everything has to flow from their personalities; otherwise it will not be emotionally engaging, or plausible.
That's what's cool - you don't know what your kids are gonna be drawn to or what's gonna excite them and what's gonna motivate them. So it's cool to see their personalities develop and see the things that they lean toward.
In yoga we say 'you want to ground to the floor.' Getting yourself to motivate is about putting your feet on the floor, grounding and going. It's one of the most important forces we can have.
I miss the early days; I do. I was so lucky. I basically had it to myself, learning about these chimpanzees. Nobody knew anything about them. Discovering their different personalities, different life histories. I was lucky.
I have my way of doing things, because I am that way, I try to raise my voice to motivate team-mates and make them aware that if they lose a ball it is not a problem, so I try to motivate my team-mates and to speak to them and, because I see the game from the back I see everything in front of me; communication on the field can help a lot.
I try to build a full personality for each of our cartoon characters - to make them personalities.
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.
Jurgen Klopp is more the emotional one and someone who can motivate really well. Pep Guardiola is more tactical, who always takes care of details and wants to show you how to do everything. Both are world-class managers and both have their own qualities. Both are amazing personalities.
No one asks how to motivate a baby. A baby naturally explores everything it can get at, unless restraining forces have already been at work. And this tendency doesn't die out, it's wiped out.
When I write fiction, I have the illusion of being able to control these fictional worlds and these characters, and to make them say what I want them to say. Of course, the problem is that it is an illusion, and by the end of it you realize that you're not in control of it at all; the characters have taken over, and they're driving the vehicle.
We're all animals, that we all respond to the same stimuli. If you want to motivate somebody not to have premarital sex, or motivate black bears not to go diving into dumpsters, first you have to think about why they do it. Telling them to stop isn't going to help. There has to be some incentive for them to alter their behavior.
It makes it very easy. I have a beginning, middle, and end, and I don't film for long - about 20 hours usually for a two-hour film - so it's easily watchable in a week for me and the editor. Once I know who the characters are, I only film those characters, unless somebody else forces their way into the film by a scene happening to them or we meet them by chance.
You know, we have to take these characters - who, granted, have their separate personalities but, on a lot of levels, are pretty two-dimensional - and make them into people with flaws, with insecurities.
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