A Quote by Columbus Short

I don't want to do action that doesn't mean anything. Everything I do I want to have character development and three-dimensional characters, fallible humans, and this is definitely one of them.
Even when I'm writing animation, I think of them as real people. I think of them as completely three-dimensional beings, even if it's a talking teapot. I don't think of them as one-dimensional drawn characters running around. Maybe that's why, to me, there's really no difference in writing the two - animation versus live action.
You want everyone to be a full character. No one is just evil, or very few people are, hopefully. They're characters, so you want to flush them out. You've got to show all sides of them. There is definitely an antagonistic relationship between guards and prisoners, and I do think it flares up.
What interests Sam Mendes are characters and relationships, and he was a genius at giving you the freedom to create the type of character you want, and also to explore and have fun with your fellow actors. For him, characters and relationships are really the heartbeat of the film, and then the action is the backdrop. By developing the characters, he makes you care that much more about the action and going on a journey with the characters.
You don't want to have a character say what's bothering him; you want to define characters by action.
I want to try everything. I don't want to limit myself to anything. I want to discover as many characters as I can. I just want to explore.
I would like to carve my novel in a piece of wood. My characters—I would like to have them heavier, more three-dimensional ... My characters have a profession, have characteristics; you know their age, their family situation, and everything. But I try to make each one of those characters heavy, like a statue, and to be the brother of everybody in the world.
I want to do a lot of different characters - definitely not always the same kind of character. I love that life provides so many choices, and I want to be able to experience that.
I didn't want to just do a show where my character stood out and other characters were flat or one-to-two-dimensional. I wanted everybody to have meat.
What's so dumb is that women are 50 per cent of the population, and they want to spend money to see movies where they're portrayed as three-dimensional characters.
I want the audience, when they leave, to think of the characters on the stage in three dimensions. I want them to have empathy. I also want them to think about engaging more with where we are culturally.
My brand is good storytelling. I really want [my company] Hillman Grad Productions to be associated with great stories, interesting characters; things that are three-dimensional and feel honest.
I think making a great action movie is one of the hardest cinematic endeavors. By definition, smart characters avoid action. Smart people don't go down dark alleys, but if you're making an action movie and you want to have an action sequence, somehow you have to get that character into that dangerous situation.
I won't complain, but I don't want to just be doing action films and extended character transformations, you know? I want to explore, and I'm up for anything. Honestly, I just want to read a good script and fall in love.
I don't work so hard at trying to get every song to be three-dimensional and mean so much. I just want to breathe, right now, with the music.
Whenever you write a character, you want to make them themselves, you want to make them unique. You don't want fifty characters in your book and they all pretty much act and think the same except they have different colored hair.
I mean, can I really create a full, three-dimensional character? I don't know anymore. I'm certainly going to try.
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