A Quote by Claire Messud
You can't make a character do something they wouldn't do.
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The more limitations you put on a character often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.
The more limitations you put on a character, often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.
I think every time you take a female character, a black character, a Hispanic character, a gay character, and make that the point of the character, you are minimalizing the character.
I think it's really hard to make songs that pursue an agenda. You can kind of do it a little bit through a character, so the character gives voice to something or their story, the story of the character tells you something, but, for me anyway, it's really hard to write directly about politics.
Let me make something clear: I can't do anything in particular to make others laugh. I do what is necessary for a character. The body language of the character may make others laugh.
Every character gives you something or the other, and you can't calculate it unless you are living the character. You learn something about the character that stays with you.
You can make an interesting character in a small portion of a movie, for a character that doesn't have that much on the page, if you just find the contradictions. That's something that I try to bring to my performances.
What a character wears and how it affects their mood and their movements has always been very important to me. A character's clothes, if they're truthful, can make audiences feel something.
What is the character trying to say? Why? Be as specific as you can, using sense images that evoke something about the character. Try using the character's senses, even if the character is you.
When you are writing, you have to love all your characters. If you're writing something from a minor character's point of view, you really need to stop and say the purpose of this character isn't to be somebody's sidekick or to come in and put the horse in the stable. The purpose of this character is you're getting a little window into that character's life and that character's day. You have to write them as if they're not a minor character, because they do have their own things going on.
Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.
I think there's something really positive about getting to explore a character for a long time on a TV show and live with that character and live with the choices they make, but it's also really great to step in.
I find it really hard to throw myself into something artistically where I'm making up a whole character and finding something for that character to do.
Taking on an iconic character is difficult, sure, people associate different actors with a character that you're playing, but there's something in rehearsing and developing a new character.
I think it always helps when you build a character, and then, you actually step into that character's wardrobe, something else happens. Another angle of the character comes to life.
Every movie I work with the costume designer to see what feels like the character, not what Columbus would wear but what is right for the character. Outside of the armored truck standard issue security guard uniform, this guy is trying to make ends meet. He might have one pair of jeans, the same boot, maybe changes his shirt but he doesn't have a walk-in closet full of things, so I wanted something comfortable that felt like the character.
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