A Quote by Bryan Cranston
When you play a non-fiction character it is more responsibility than when you are playing a fiction character because that person lived, and you do want to pay respect to that.
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When I'm making documentaries, I think a lot about how fiction films play. I want them to have the pacing, the twists and the character development of fiction films.
When you're the guy inside of a character and you've lived with it for almost two years, you're always a bit defensive about the character, and you want to root for the character you're playing.
Joker' is, of course, a character of my generation grew up with, and it's a character you know really well and have strong opinions about. He's been a larger-than-life character in fiction. He's one of these rare characters that have had such strong performances.
I just didn't want to get bored playing a character, and that's kind of the benefit of doing films; you've lived with a character for four or five months and that's it, and you walk away from that character and you feel like you told a story.
Not every character that you play is going to be somebody that you like or love, but every character that you play has a story that is worth telling. If you're not the person to tell it, that's one thing. But if you don't want to tell it because you are afraid of the unpopularity of the character, I view that as a missed opportunity.
Character is doing the right thing even when it costs more than you want to pay. When it comes to character, you dont have to be sick to get better. Its easier for a good person to get better than for a bad person to get good.
It is a work of psychogeography, albeit in a less explicit sense than Iain Sinclair's or Will Self's. It had to be fiction though, because I needed that freedom of including whatever belonged, and cutting out whatever didn't. The main fiction in it was matching Julius' generous and self-concealing character to New York's generous and self-concealing character. I think this also adds to my answer about New York's personality in the book.
When I play a gay character, I want to be as believable as possible. And when I'm playing a straight character, I also want to be as believable as possible. So the less that people know about my personal life, the more believable I can be as a character.
In novels you're able to occupy character's internal thoughts and it's really hard to do in a film or a TV show. When you're reading a character's thoughts or when it's in first person, you're reading kind of their own story, so you have the opportunity to see what makes that character complex or complicated. And to me that's what the whole point of fiction is.
To be perfectly frank: I don't write women's fiction. I write intimate, gritty, realistic, character-driven fiction that happens to be thrown into the women's fiction category.
I write both fiction and nonfiction. I begin my fiction with the main character. The story comes later.
If you're playing someone who has lived, there's the risk of imitation, or whether you focus on the essence of who that character was as opposed to physical mannerisms. So, you have to figure out what it is ultimately that this particular adaptation of the story, whether it's fiction or not, is trying to say.
When you're reading, like, a character's thoughts, or when it's in first person, you're reading kind of their own story, so you have the opportunity to see what makes that character complex or complicated. And to me, that's what the whole point of fiction is.
A lot of times, in film and TV, they just want you to play yourself. But, when you're someone who's more of a character actor, you get to experience what it feels like to play a bunch of different kinds of people. I find it more invigorating than challenging. I definitely trust the writers to give me the material that I will take and turn into the person that I'm playing.
I used to write fiction, non-fiction, fiction, non-fiction and have a clear pattern because I'd need a break from one style when going into the next book.
Non-fiction, and in particular the literary memoir, the stylised recollection of personal experience, is often as much about character and story and emotion as fiction is.
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