A Quote by Bebe Neuwirth
Part of the success of the show is that the audience sees themselves in the characters, becomes the characters. The more they inhabit the characters, the more they see.
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Part of the success of the show is that the audience sees themselves in the characters, becomes the characters. The more they inhabit the characters, the more they see
What's most important is to create an atmosphere that's real, providing characters the audience can root for. Once they become emotionally attached, that's the secret in building a show. The audience can see themselves in these characters, and they respond to the stories.
I'm grateful that so many viewers have related to characters I've played. I think many in the audience see themselves in my characters or feel like the characters are similar to their friends or sisters.
I have always liked kind of outsider characters. In the movies I grew up liking, you had more complicated characters. I don't mean that in a way that makes us better or anything. I just seem to like characters who don't really fit into. You always hear that from the studio: "You have to be able to root for them, they have to be likeable, and the audience has to be able to see themselves in the characters." I feel that's not necessarily true. As long as the character has some type of goal or outlook on the world, or perspective, you can follow that story.
I believe that if the story is fleshed out and the characters more believable, the reader is more likely to take the journey with them. In addition, the plot can be more complex. My characters are very real to me, and I want each of my characters to be different.
It's a funny show. The characters are surprisingly likable, given how ugly they are. We've got this huge cast of characters that we can move around. And over the last few seasons, we've explored some of the secondary characters' personal lives a bit more.
On the stage, the characters express themselves more through words than images. So the arguments of the characters and the tension between characters - words have to be used to express that, and I love that about theater.
I don't understand that, because I think that what people like most about the show is that they recognize themselves in the characters and their problems, so the more believable the family is, the more we can draw the audience in.
'Longmire' is more of a show about the characters, and you couldn't pay a bigger compliment than to want to know more about my character, or the characters on the show.
I have always said the success of the show has stemmed from our audience being able to relate to the characters on different levels - being based on the universally loved Arthurian legend is only a tiny part of its success - it's a story about acceptance and growing up. The breathtaking finale of this series leaves you with no doubt that characters have been on their journeys and had their stories told - it's completely the right time to draw our telling of the story to a close.
I'm mostly interested in characters and how they manifest themselves in their relationships. I'm delighted that people relate to the characters in 'Bojack,' and hopefully they will too to the characters in 'Undone.' If they understand themselves or feel seen in a new way, I think that's a wonderful thing.
I think the more depth you build into the characters, and the more you see where they came from, the more fun you can have. Setting up different characters in different relationships is always helpful as you move forward.
I'm an actor. I have to play weird characters, quirky characters, strange characters, sometimes characters I don't understand.
For an author, the nice characters aren't much fun. What you want are the screwed up characters. You know, the characters that are constantly wondering if what they are doing is the right thing, characters that are not only screwed up but are self-tapping screws. They're doing it for themselves.
The American horror movies are more moralistic, they have not only good characters, but characters where the ultimate danger is death. What I like about European cinema is they have another sense of what's good, what's bad, and sometimes all the characters are far more complex than just that. It's less binary, the Giallo genre.
I always try to keep in mind that while the characters in a farce may find themselves in outrageous dilemmas, and may behave in a way that the audience finds amusing, the characters themselves don't have the consolation of knowing they're in a comedy.
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