A Quote by Diana Krall
Sometimes I can't get out of the character because the story is very intense.
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Sometimes when you're playing a very intense character, a disturbed character, you find other layers. That's much more interesting to me, rather than just playing 'intense.' I find it too boring.
For Daredevil I think Sam Wortington could be very great and intense for this character. For the vilain it's depênd of the story.
I always want the audience to identify with my character in some way. I mean, sometimes you'll get characters that aren't very identifiable. Sometimes you can't relate to your character at all.
It's very rewarding to see the movie, and it's very rewarding to make the movie, but playing the character [Riddick] is sometimes a lot more difficult than other characters because it takes so much preparation to get into that character.
Maybe I'm perverse, but the question of "rooting" for a character, or setting out to write a character for whom other people will root, has never had anything to do with why I read or write fiction. As long as the writing and story remain alive, intense, invigorating, provoking, the characters can be as demonic or saintly as the author wants.
Of course, even if the directors like my ideas or the designs I do, they may end up changing the story so much, that those characters have to change, or get cut out altogether, and that's just the way it is. Sometimes the directors are designers themselves, or they want to work with a character designer who will do things in their own distinct way - sometimes the most important thing I do is figure out what they don't want to do, by experimenting. Either way, whether they use my ideas or not, I get paid, so it's all good.
That's always my ambition is to create a character out of what will help tell the story. I've never been an actor to say my character wouldn't do that, because he should do that in order to help tell the story.
When I was first approached about doing an autobiography, I said, 'absolutely not.' But when I sat down, memories came pouring out. It wrote very quickly - I think there was an emotional impulse, because once I started in, the story itself carried me along. It was a very intense writing period and took a year and change to finish.
Only in very rare circumstances will you see something cut out of my first drafts. Maybe it's because of the way I write. I'm very focused on the logical progression of the story, and every character has a role to play.
If you get the characters right you've done sometimes nearly half the work. I sometimes find I get the characters right then the characters will often help me write the book - not what they look like that's not very important - what people look like is not about their character. You have to describe the shape they leave in the world, how they react to things, what effect they have on people and you do that by telling their story.
I always want the audience to identify with my character in some way. I mean, sometimes you'll get characters that aren't very identifiable. Sometimes you can't relate to your character at all. I think it's important to keep the audience interested. But the best advice that I've gotten is to live in the moment.
I used to get stuck trying to find the first sentence of a story, then I realised that it was often because I didn't know what problem a character was facing in the story. As soon as I did, I could have the character trying to do something about it or have the problem whack him between the eyes.
Some actors, and especially the younger actors, they come into the job with a lot of attention on how they behave and everything when they're not working. Sometimes that can be unfortunate because the work call is pretty intense and the preparation for it. If your focus is there, then the actual doing of the job will be fun and enjoyable. But if you're so involved in trying to be interesting and a character and everything when you're not working, it can get in the way and people get goofed up.
I'm always surprised when you do something very different that people don't get behind you more, because you're always told, "Take chances! Stretch!" And when you do it, sometimes people get really supportive and excited, but sometimes people go at you because you've tossed out the formula.
Sometimes relationships are short, sometimes long, sometimes they're very deep and intense, and drama school is a hell of a learning curve.
My talent is working very hard and having a decent nose. A good nose for a story and the ability to get a little bit dirty sometimes, to get a little bit physical sometimes chasing a story. And to feel it, I mean I feel it.
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