A Quote by Beth Henley
It's really interesting that whenever you do something that is so out of character, like having an emotional outburst, that you don't get in trouble.
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I love shooting, when the character is interesting and the script is interesting, but the research beforehand is really fun. The whole process makes me anxious and restless, and I have trouble sleeping, just trying to figure out the character.
So in the drafting process, whenever I would discover something about what my character wanted or didn't want, I immediately just wanted my character to admit to that so I could get to the next, more interesting level in the story.
Anger begins as an inner twinge. We sense something long before it blossoms (explodes?) into an emotional tirade. If we listen to this twinge -- and follow its advice -- the emotional outburst (or in burst) is not needed.
I think television is really incredible because of the fact that you get to sit with a character for so, and the character does something different, every week. I think that's really interesting.
I guess I've just gotten to the point where I don't want to be bored by the characters that I play, and I don't want to feel like I'm having to make something more interesting or I'm having to force something that's not really there on the page.
It's really amazing to be a part of something that people have an emotional response to, even though it's a network sitcom. When you get a chance to meet fans or interact with them, you realize that there are a lot of people who the show speaks to, and that they really get something out of it, beyond just laughing. That's really fulfilling.
I don't think I want to play title roles. I don't want to be the face on the poster. I don't want that pressure of having the success riding on my shoulders. I just want to play the most interesting parts. I actually think it's incredibly rare to get an interesting female character that is the lead in a film. Usually the character parts are so much more interesting to play.
You're always choosing the start point and the end point. And almost by definition, the most interesting period is where something happens, as a result of which something is different at the end. And so to me, the idea that you know everything about a character at the beginning is sort of ridiculous. Something has to be revealed. I like it when the deeper you go with the character, the more you see the layers start to peel away. It's more challenging to me, but it's also just interesting. Those are the things I like to watch. I like to watch the evolutions of something.
I think that a lot of the time I don't go for something in particular. I see what comes to me, I filter it out. I never really strive to play a particular character or do a particular genre of film. As long as it's a good script and a great range of people and my character is really interesting I can't see any reason not to do it.
What sometimes goes on in all sorts of Christian institutions is not formation of people in the character of Christ; it's teaching of outward conformity. You don't get in trouble for not having the character of Christ, but you do if you don't obey the laws.
A lot of readers ask me, "Do you ever get emotional while writing the book?" or "Did you cry when you killed this character?" And the truth is, no, I didn't. That's not really the way I approach it. I don't get emotional while writing, but then there are plenty of other authors who do.
I think whenever you go through something of that nature, you get to see who's really on your side and who's really there for you. That happened in my case. And it really let me understand that no matter how small of a decision you make, it's going to have a subsequent action or reaction, and something that started out very innocent turned into the tragedy that it was.
New York is breaking my heart. I’ve often said that it’s like having a really interesting boyfriend suddenly becoming really, really into wine, and having to have endless conversations about it.
Whenever I'd get in trouble, my mom would send me to Seattle, and when I would get in trouble there, I'd get sent back to Virginia.
There's one good thing about getting in trouble: It seems like you do it in steps. It seems like you don't just end up in trouble but that you kind of ease yourself into it. It also seems like the worse the trouble is that you get into, the more steps it takes to get there. Sort of like you're getting a bunch of little warnings on the way; sort of like if you really wanted to you could turn around.
Essentially, in photography, I think on two levels: one emotional and the other technical. The emotional impact has to do with looking for something dramatic happening in the photograph, something that reaches out and touches somebody in some way. And the technical is having to do with composition and framing - light and dark, light and shadow.
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