A Quote by Aden Young
In some ways, what I learned is that you can take a character and breathe with them, and it's up to the audience to interpret rather than you putting moral stamp on the character.
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In some ways, what I learned is that you can take a character and breathe with them, and its up to the audience to interpret rather than you putting moral stamp on the character.
When we approached the project, the very first thing we did was take each character and say, "Okay, where would this character be?" We didn't want them to be caricatures of themselves. We wanted them to live and breathe, and grow with the audience and with us.
Any character that you come up with or create is a piece of you. You're putting yourself into that character, but there's the guise of the character. So there's a certain amount of safety in the character, where you feel more safe being the character than you do being just you
I think if you're too embroiled in the need to relate too closely to the character, then you start to judge the character for the audience rather than to present it to the audience for their enjoyment and them to mull over the questions that the characters present.
I need to react to a script, to feel strongly about it in some way. And I need it to be a complex character for sure. And also, I think a lot about what kind of audience there is for the film, what they're looking for and ways to connect with them in the playing of a character.
The way that you have cut the film, you can take the audience out of the action if it becomes evident that there is a stunt double doing it rather than the actor. I'd rather stay with the character and the story point behind the fight, rather than cutting to a wide angle of the fight.
To point out the importance of circumspection in your conduct, it may be proper to observe that a good moral character is the first essential in a man, and that the habits contracted at your age are generally indelible, and your conduct here may stamp your character through life. It is therefore highly important that you should endeavor not only to be learned but virtuous.
I think every time you take a female character, a black character, a Hispanic character, a gay character, and make that the point of the character, you are minimalizing the character.
We falsely attribute to men a determined character - putting together all their yesterdays - and averaging them - we presume we know them. Pity the man who has character to support - it is worse than a large family - he is the silent poor indeed.
And, for any performer, to be able to go deep into character is fantastic. In film you only get to do that if you're the leading character. But in television you get 18 hours to really test the audience and take them to the edge of how far they will go with this character. I can step over this line and I love that.
I never want to overstay my welcome for any character. I would rather people are excited by the ideas a character generates in them rather than feeling bored and wishing he would just go away.
Character has more effect than anything else. Let a number of loud-talking men take up a particular question, and one man of character, of known integrity and beauty of soul, will outweigh them all in his influence.
I think it's really important, when you're redefining a character [ Spider-Man], for the audience to experience things that they haven't experienced, from the ground up. I wanted to build a character. I feel like point of view is a really crucial thing in the story, and that you need to build up the emotional building blocks, so that you can experience all the other emotions in a very specific way, rather than just experiencing it in an intellectual way.
Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.
My character should not be ordinary, cliched, and if I feel that it's difficult to do this character, I take up that challenge to get into his character.
To choose the ideal voice for a character is to give a character an ardent and vivid life, to allow him or her to speak, rather than speaking for them, in an older style of omniscient narration.
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