A Quote by Deborah Moggach
Once a character has gelled it's an unmistakable sensation, like an engine starting up within one's body. From then onwards one is driven by this other person, seeing things through their eyes.
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It really comes down to parsimony, economy of explanation. It is possible that your car engine is driven by psychokinetic energy, but if it looks like a petrol engine, smells like a petrol engine and performs exactly as well as a petrol engine, the sensible working hypothesis is that it is a petrol engine.
Photography is solitary and there are lags between seeing with your eyes and seeing through the lens, and then seeing the image on your computer... I often see things after the fact. So there’s a revelatory quality. And this definitely includes a sense of playfulness, because you’re not sure what the consequences are going to be.
I find that’s one of the great things about acting-you have the opportunity to stand in somebody else’s shoes. Each character faces a dilemma in her life, and as an actor you’re able to step into that character’s skin, look through her eyes. You leave transformed, a different person, because once you live a little bit of someone’s life, it changes you.
I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.
Sometimes I wondered if I was seeing the same things through my eyes that the rest of the world was seeing through theirs. Maybe there was a glitch in my brain.
I like to enter my characters through a physical form first. The first thing I find is the regime of the character - when he wakes up tomorrow, what activities does this person engage in - that's my entry point. Once I get that, then it becomes easy for me.
It’s not the body that people love, but the soul. The body is a temporary vehicle. Without the soul, the body is like a car without a driver. I see through my eyes, smell through my nose, taste through my tongue, hear through my ears, feel through my skin, think through my brain, and love through my heart. But who am I? Who is the witness, enjoyer and sufferer that activates my body?
Empathy is patiently and sincerely seeing the world through the other person's eyes. It is not learned in school; it is cultivated over a lifetime.
Method acting has had a major influence both in writing through the eyes of other people, and seeing through the eyes of other people, trying to address different ideas in a way that would go beyond preaching to the choir.
You have to put yourself in my shoes as a person who believes in radical truth and in being radically transparent, not in seeing things through somebody else's eyes.
I never like to sit and discuss my character, the other character, our relationship, or anything like that. I feel like if I did my job and I trust that the other person has done theirs, you just go on set, play around with it, chew the scene for a little bit; then we roll, and that's it.
Think of your body like a car: a glass of water first thing in the morning is like starting your engine.
For me, a lot of Discipline was very personal writing, like writing through and working out being inside this gendered body and also the compulsions of the body, the muting of the mind as driven by the body. My father had died some years ago so he haunts the book too, just floats through it ghost-like. But, the writing of every book is different for me. They are so like living creatures, these books, so I don't know what's carried over into the writing of the next things - except maybe that I'm best when I make my writing practice a routine.
When I'm writing fiction, I'm sort of interested by the fact that somehow or other I can have the feeling of actually seeing things through someone else's eyes.
As the character talks and moves, the world around him is slowly revealed, just like dollying a camera back for a wider look at things. So all my stories start with a character, and that character introduces setting, culture, conflict, government, economy... all of it, through his or her eyes.
I try to think what the character is thinking. Then, hopefully, I begin to feel it. I act and react not because I'm recalling a dog killed by a fire engine, but because I'm concentrating on what the character is going through.
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