A Quote by David Corbett

An intuitive grasp of your character is formed by exploring scenes of profound emotional import-moments of overwhelming shame, joy, fear, pride, regret, forgiveness.
There were time when I was into method acting that I did have moments of residual character emotions, because the method bases your emotional responses as a character on emotional experiences from your real life.
Own your failure openly, publicly, with genuine regret but absolutely no shame, and you’ll reap a harvest of forgiveness, trust, respect, and connection-the things you thought you’d get by succeeding. Ironic, isn’t it?
Forgiveness is a stunning principle, your ticket out of hate and fear and chaos. ... I know what regret feels like; I've earned my credentials. But I also know what forgiveness feels like, because God has so graciously forgiven me.
I thought there were moments to complain about your parents and moments to be grateful, and it was a shame to mix those moments up.
I find fight scenes actually more interesting, in a way, than chase scenes because you're watching your character go through this problem-solving process and fight the antagonist mano-a-mano. It's more powerful, more emotional.
The really wonderful moments of joy in this world are not the moments of self-satisfaction, but self-forgetfulness. Standing on the edge of the Grand Canyon and contemplating your own greatness is pathological. At such moments we are made for a magnificent joy that comes from outside ourselves.
Don't be shaped by regret, disappointment, fear of the future, resentment and the like. The Lord's joy is your strength. Enjoy it.
Let all your moments of self-doubt, fear or disappointment fuel your drive to be great. Because it will be in those moments of fear that we have to realize we must redefine success and what it means to us.
The very dull truth is that writing love scenes is the same as writing other scenes - your job is to be fully engaged in the character's experience. What does this mean to them? How are they changed by it, or not? I remember being a little nervous, as I am when writing any high-stakes, intense scene (death, sex, grief, joy).
laughter, that distinctively human emotion, laughter which springs from trust in the other, from willingness to put oneself momentarily in the other's place, even at one's own expense, is the special emotional basis of democratic procedures, just as pride is the emotion of an aristocracy, shame of a crowd that rules, and fear of a police state.
Thy pride is but the prologue of thy shame; where vain-glory commands, there folly counsels; where pride rides, there shame lackeys.
In one sense, every character you create will be yourself. You've never murdered, but your murderer's rage will be drawn from memories of your own extreme anger. Your love scenes will contain hints of your own past kisses and sweet moments.
Pride ruined the angels, Their shame them restores; And the joy that is sweetest Lurks in stings of remorse.
I like taking a character at the most intense moments of their lives and exploring all that in full and then moving on.
We should know that Allah has created us to live an eternal life with no death, a life of pride and ease with no humiliation, a life of security with no fear, a life of richness with no poverty, a life of joy with no pain, a life of perfection with no flaws. Allah is testing us in this world with a life that will end in death, a life of pride that is accompanied by humiliation and degradation, a life that is tainted by fear, where joy and ease are mixed with sorrow and pain.
When people come in the door and they have something, discovering and exploring the character is a real joy.
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