A Quote by Corey Stoll
What was so brilliant about 'Girls' was that they allowed their characters to be ludicrous and selfish and faulted but didn't shy away from a deeper psychological foundation for that neuroses.
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Dictators are ludicrous characters, and, you know, in my career and in my life, I've always enjoyed sort of inhabiting these ludicrous, larger-than-life characters that somehow exist in the real world.
You can't be faulted for being selfish if you're going to get better because of it.
Cowards can't be faulted for being shy. They can't be held responsible for anything.
As you climb, you grow deeper in the foundation, so it makes our foundation deeper.
I choose grey characters, as I enjoy playing a human character. I don't shy away from showing the shortcomings of my characters.
I think, for a shy person - and I was very shy until my mid-20s - having been to an all-girls' school is not brilliant on the boyfriend front later. Because when I went to university, it was definitely like meeting a new species of people. Suddenly, at age 19, I was thinking: 'Can you speak to these people?' I was very, very nervous.
The interesting thing about a lot of serialized television is that it's a blessing and curse. Smart writers really take their time in investing in backstories and characters. As a viewer, you have to invest in them and love them before you can chip away at what's going on more on a deeper level with secondary characters.
I've always liked what Thomas More said in Utopia, which is that in Utopia every person is allowed their own lifestyle and religion but no one is allowed to stand on a soapbox and tell others that theirs is right. I thought that was brilliant. Brilliant.
What I loved about 'Goodfellas' is that it's a film about bad behavior - but told with great energy and without judgment - but it doesn't actually shy away from the consequences of that behavior in the characters' lives, which I think is similar in 'Keep the Lights On.'
The funny thing about making this record and being away from the girls and on my own in LA is that it allowed me to reflect on how much we've accomplished.
Smart writers really take their time in investing in backstories and characters. As a viewer, you have to invest in them and love them before you can chip away at what's going on more on a deeper level with secondary characters.
I meet so many business women who shy away from the limelight or hesitate to put themselves forward for promotion, despite the fact they are brilliant at their jobs.
I can be very reserved about things. My business side isn't shy. I can be like a general. But I've got a shy side. I'm also a lot deeper than people think, and a lot more sensitive. But I don't let people in too much.'
But through therapy I'm realising I'm allowed to be vulnerable. And I'm allowed to feel shy. And I'm allowed to feel private.
When writers are self-conscious about themselves as writers they often keep a great distance from their characters, sounding as if they were writing encyclopedia entries instead of stories. Their hesitancy about physical and psychological intimacy can be a barrier to vital fiction. Conversely, a narration that makes readers hear the characters' heavy breathing and smell their emotional anguish diminishes distance. Readers feel so close to the characters that, for those magical moments, they become those characters.
I really believe that is helping people. I've been talking to oncologists about how we can re-frame and re-think the chemo process, so it becomes a much more spiritual, psychological journey. Where people really could burn away what needs to be burned away. It's happening anyway. Why not frame it in a psychological way where it can serve as a transformation?
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