A Quote by Bill Condon
A scientist is an unlikely character to put at the center of a movie.
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Songs are like movies to me, and so you put yourself in the movie. You become a character in the movie.
We have always put the quest for balance at the center of our storytelling, whether it is the struggle to find it within one character, between a character and society, between disparate cultures or between humans and their environment.
I think I'd be too scared to direct my first movie and put myself in the center.
To my knowledge, not a single scientist at the Hurricane Research Division, the National Hurricane Center, or the Joint Typhoon Warning Center believes...that there is any measurable impact on hurricane numbers or activity from global warming.
In one way they make the movie something you can handle because it's character driven and it's slightly off center. That's what's attractive, but it also has the potential of being cutesy and sappy. I am so uninterested in that.
If I could relive my life, what I would do is work with scientists. But not one scientist, because they're locked into their little specializations. I'd go from scientist to scientist to scientist, like a bee goes from flower to flower.
I'm not sure if my story will become a movie. Some of my western friends sent my story to people they know in the movie industry. But one consistent response was there aren't any main western characters in my story, so it's unlikely to be made into a movie in English.
When you start digging into things like character, though, the notion that people have high character or low character is very strong. What's crazy is that my thinking is not a new insight. The very first large-scale study of character, still one of the largest ever, was done in the early 1900s by Hugh Hartshorne, an ordained minister and a scientist.
I'm not a big fan of violent movies, it's not something I like to watch. And it's not my aim or goal to make a violent movie. My characters are very important, so when I'm trying to depict a certain character in my movie, if my character is violent, it will be expressed that way in the film. You cannot really deny what a character is about. To repeat, my movie end up becoming violent, but I don't start with the intent of making violent movies.
It is fun, revisiting a role. Usually, as an actor, you do a movie and you put that character up on a shelf, and he's done. That character is now immortalized on film, but you don't get to play him again. In these films [Twilight saga], we got to revisit these characters, and we didn't take that for granted.
I was not put here to be a background character in someone else's movie!
When I create a character, particularly my central character, I want someone who is interesting and feels real and who might have quite a few virtues but is unlikely to be perfect, who hasn't necessarily made all the right choices.
In every movie, there's always some physical thing that triggers the character for me. In 'The Long Walk Home,' it was the girdle. Every time I'd put that girdle on, I'd feel my character wiggle to life.
There's a lot of big guys who can play-make. We put labels like, 'Oh, he's a point guard, he's a center.' But sometimes your center can play-make for you and not just be the center, boxing out for rebounds and playing in the post.
The whole of the 20th century has always put the car at the center. So by putting the pedestrian first, you create these livable places, I think, with more attraction and interest and character.
Obviously, with a CGI character, you're building a character in much the same way as a real creature is built. You build the bones, the skeletons, the muscles. You put layers of fat on. You put a layer of skin on which has to have a translucency, depending on what the character is.
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