A Quote by Diane Paulus
I'm sorry, but to ask an audience these days to invest three hours in a show requires your heroine be an understandable and fully rounded character.
Related Quotes
When you introduce a character and show him for the first time, don't show him fully lit. Don't show him one hundred percent to the audience. Show maybe fifty percent or sixty percent so the audience can fill in the dark spots.
The most understandable thing in the world should be how minutes lead to hours, how hours lead to days, how days can make a year. And yet, this neat progression can still be surprising.
I read 'On The Road' in college. I was 18 or 19, and I had a particular quarter where I was taking biology, calculus, and physics. Those were my three classes. It wasn't a well-rounded schedule at all. It was hard, hard work, all the time - hours and hours and hours of homework.
When you talk about a daily soap, it means one would be seen 28 days a month, which requires 30 days of shooting. So an actor being seen on a show airing four days a week and being telecast thrice a day comes along with a baggage of the character.
If the show encourages an audience to ask the question, "Is this character's emotional response to this situation valid?," then that's a really good question to ask.
You will never, I think, fully conquer the play. Every night, you see this Everest before you. It's that two, three hours and the audience, and you'd better tell the truth.
That song [ "Proud of your boy" ] in particular, I sing towards the beginning of the show [Aladdin], and what it does is show his wants and needs at the beginning and what's motivating him and carry it throughout the show. It gives him layers and dimensions. He's a well rounded character and it's great.
It's always good to go from a heavy song to a softer one. It helps having the attention of the audience for the whole show - three hours of the same songs for the whole show is boring.
I've been on the show for six years and I don't even know what her history is. I sort of make things up in my mind, but I think it's hard for an audience to follow and invest in a character when they don't have the details.
My job is to try and present the most fully-rounded character that I can, and bring a performance that people believe in.
THREE DAYS TO DEAD is one of the best books I've read. Ever. Evy Stone is a heroine's heroine, and I rooted for her from the moment I met her. Kelly Meding has written a phenomenal story, one that's fast-paced, gritty, and utterly addictive. Brava! More! More! More!
Three-quarters of directors waste four hours on a shot that requires five minutes of actual directing. I prefer to have five minutes' work for the crew - and keep the three hours to myself for thought.
There's a method aspect to Campbell Scott character and he really wants to get into his character and he wants to cast to go on a fast so that by the time the play opens nobody's eaten in three days because he wants the audience to feel the pain from the stage.
I procrastinate in spades. In my defence, I also try to have all other distractions solved before I can concentrate on writing. My small theory is that to write for three hours, you need to feel like you have three days. To write for three days, you need to feel like you've got three weeks, and so on.
On OTT, it's not about her or heroine, every single character is powerful and a hero, heroine in their own space.
I write nearly every day. Some days I write for ten or eleven hours. Other days I might only write for three hours. It really depends on how fast the ideas are coming.
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