A Quote by Anthony Russo

Joe and I always say that our guide through action is always story and character. We're always driving right at the character beats, or else the action beat doesn't work. — © Anthony Russo
Joe and I always say that our guide through action is always story and character. We're always driving right at the character beats, or else the action beat doesn't work.
I've always been very strong minded on character-based fights and character-based action. If you take the character out of the action and you just shoot it as an action sequence, the audience starts to lose connection.
Action is only really compelling when it reveals character - character revealed through action, and not action for its own sake.
I don't only act out of my character; my character reacts to my actions. Each time I why, even if I'm not caught, I become a little bit more of this ugly thing: a liar. Character is always in the making, with each morally valenced action, whether right or wrong, affecting our characters, the people who we are.
Action should always be about character and story, not a gimmick.
I love action films. I'd love to do an action drama. I'm always looking to give my character something action-oriented to do.
I always say I thought I was making this exciting action movie but I actually always end up making character studies. Every single one.
It's always irritated me that people say, 'Where's the action? Oh wow, there's no action here; let's go somewhere else.' These people will never find the action.
Then, if action is possible or necessary, you take action or rather right action happens through you. Right action is action that is appropriate to the whole. When the action is accomplished, the alert, spacious stillness remains.
Whatever character you play, whatever film it is, whatever story it is, for me, in my training it's always something that gives you a layered character, it's understanding the secret of that character, and so whatever comes up as "Oh, I thought that person was that," you are always carrying that within you. So actually what you're playing all the way through is both and it's just what comes out in the scene or the circumstance.
'My character wouldn't do that.' That was always my favorite thing people say: 'My character wouldn't do that.' I said, 'Well, it says right here in this script your character does that.'
I was always trying, even in pure action movies, to find what was sensitive about the character more than the pure action.
We haven't evolved a hero story that's female. We're always trying to fit women's stories into this male structure, which is this rising action, this powerful conflict, and this falling action. And I think a female hero story is not that. It's something else.
I always look for the character that gets into your guts and tells you, 'You have to play this.' You have to be brave enough to let everything else go and let the character guide you. When I read a script, I look for that kind of pull.
In 'Yours Truly,' I was the centre of the story; I was the protagonist. There was a lot more happening inside the mind of the character which was not projected loudly through dialogue and action... As a performer, playing such a nuanced, internal character is challenging.
I'd always assumed I was the central character in my own story, but now it occured to me I might in fact be only a minor character in someone else's.
'Cars 2' is about a character learning to be himself. There's times in our lives where people always say, 'Well, you've gotta act differently. You should always be yourself.' That's the emotional core of the story.
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