A Quote by Carlton Cuse
You have to be able to get inside the heads of the characters and completely sympathize and understand them.
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You have a different, much more intimate relationship with the characters in a novel than when writing a screenplay. You're able to get inside their heads in a different way. You can understand their motivations more.
I don't like the strictly objective viewpoint [in which all of the characters' actions are described in the third person, but we never hear what any of them are thinking.] Which is much more of a cinematic technique. Something written in third person objective is what the camera sees. Because unless you're doing a voiceover, which is tremendously clumsy, you can't hear the ideas of characters. For that, we depend on subtle clues that the directors put in and that the actors supply. I can actually write, "'Yes you can trust me,' he lied." [But it's better to get inside the characters' heads.]
Actually, I identify with all my characters, good and bad. I have to do that in order to make them genuine. I have to understand them even if I don't approve of them. Not completely - it's impossible; complete identification is, in fact, not desirable.
[Identity liberalism] says, on the one hand, you can never understand me because you are not exactly the kind of person I've defined myself to be. And on the other hand, you must recognize me and feel for me. Well, if you're so different that I'm not able to get into your head and I'm not able to experience or sympathize with what you experience, why should I care?
I have a brilliant sound design team who's been working with me since 'Mr. Robot,' and one of the things we always think about - and it's also something we think about with cinematography - is how we get inside the characters' heads and how do we place the audience where we want them to be or how we want them to feel at any given moment.
One of the amazing things about 'Seven Samurai' is that there are a lot of characters. And considering you have so many, and they all have shaved heads, and you've got good guys and bad guys and peasants, you get to understand a lot of them without too much being said.
I feel like I'm attracted to characters who have one foot firmly planted on the ground. And their heads up in the clouds somewhere. Practical dreamers. They try to impress you that they've got this whole thing figured out, but there's more going on inside their heads than you might imagine.
I think that characters who are nice all the time and who you sympathize with can get really boring.
Sometimes, when actors reach out to their characters, they're nowhere in sight. They need to find something inside of them. And then the characters are right there. As a director, I want them to find the character that's already inside them, instead of trying to manufacture or manipulate or make something up. That's not really honest or true.
There are so many characters whizzing around inside my head, it's like Looney Tunes. But as soon as I've finished writing about them, I completely forget who they are.
There are times that you have a plot in your head, but then you find that the characters don't want to do that. When you're looking at the story from the outside, you can create whatever twists and turns you want. But when you're writing, you're inside the characters' heads, and you see that they may be motivated to do something different.
I really like getting inside the heads of female characters. I think I can do that well, and I enjoy it.
To me, the more interesting villains are the ones you can, in some sense, relate to or sympathize with at times. Maybe you sympathize with them one moment; the next moment, they do something truly atrocious, and you feel bad you ever sympathized with them in the first place.
I would love to be able to read minds. How cool would it be to get inside peoples' heads and figure out what they're thinking? I guess that's a good and a bad thing.
I don't have to sympathize or empathize with a human being in order to be able to portray them. I mean, some of the greatest roles that actors have been able to play haven't been the most endearing on screen.
That's the worst of girls," said Edmund to Peter and the Dwarf. "They never can carry a map in their heads." "That's because our heads have something inside them," said Lucy.
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