A Quote by Alison Pill
I find that a lot of my best character stuff and ideas come unwittingly from novels. In scripts, it's a lot about the outward signs of whatever's happening - you have the end result. Whereas in a novel you get a buildup of the whys and wherefores, and you're let into the backstory.
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I think a lot of funds get their ideas from Wall Street. I just like to find my own ideas. I read a lot. A lot of news. I just follow my nose. A lot of times it's a dead end, but sometimes there's value there.
When we get into the spirit world, and the veil is withdrawn, we shall then perhaps understand the whys and wherefores.
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.
If you have a lot of textural stuff happening in music you get called shoegaze, or whatever, and then it becomes about the sound and not about the songs.
You know a lot of what worked on this was taken from Harry Potter 2, the little Doby character, we had a lot of our skin stuff worked out and that helped a lot. We have a lot of exchange happening.
I don't end up playing a lot of likable characters, so I find myself living in a lot of unlikable skin. As a result of that, I don't always feel good. I get a lot more catharsis from taking pictures or painting or making short films.
As to the "traditional filler of twenty-first century realist fiction," maybe that is something I avoid. I don't relate to standard psychologizing in novels. I don't really believe that the backstory is the story you need. And I don't believe it's more like life to get it - the buildup of "character" through psychological and family history, the whole idea of "knowing what the character wants." People in real life so often do not know what they want. People trick themselves, lie to themselves, fool themselves. It's called survival, and self-mythology.
One never can know the whys and the wherefores of one's passional changes.
A lot of people, a lot of players, come to the league knowing 'I can do that, I can do this, I can do a lot of stuff.' But at the end of the day, what the team needs from you is what makes sense for the team. You have to do what's best for the team.
You wanna do a lot of backstory for your character - as an actor, you wanna research that. But on the show, it's fun to remain in that naive place as you go along, and be able to continue to discover things about your character as the writers come up with them.
Usually when you're playing a character, you think a lot about their backstory.
A lot of times with novels, you can get a really deep, engaging story, but there's not a lot happening, frankly. Those books tend to be super-literary and dense, and they require a lot of commitment, and that's not necessarily a bad thing, but if you want fast-moving action and gore and plot and excitement, you can get shorted on that.
I didn't have any brothers or sisters, so I did a lot of stuff where I entertained myself playing games, reading a lot, a lot of fantasy novel stuff.
Movies are about people; there're not about ideas. It's like great novels. Great novels are not about ideas. There's never been a great novel about ideas.
I've been thinking a lot about why it was so important to me to do The Idiot as a novel, and not a memoir. One reason is the great love of novels that I keep droning on about. I've always loved reading novels. I've wanted to write novels since I was little. I started my first novel when I was seven.I don't have the same connection to memoir or nonfiction or essays. Writing nonfiction makes me feel a little bit as if I'm producing a product I don't consume - it's a really alienating feeling.
Publishers send me a lot of first novels because my first novel was the defining novel of my career, and I guess a lot of people want my benediction or something.
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