A Quote by Don Bluth
If you look at the game and everything, it's not quite like looking at an animated film, because that's total character. This, this is really movement, but it's got funny little things if you look for the humor. They're actually getting to the character.
Related Quotes
When you are writing, you have to love all your characters. If you're writing something from a minor character's point of view, you really need to stop and say the purpose of this character isn't to be somebody's sidekick or to come in and put the horse in the stable. The purpose of this character is you're getting a little window into that character's life and that character's day. You have to write them as if they're not a minor character, because they do have their own things going on.
I suppose I look for humor in most situations because it humanizes things; it makes a character much more three-dimensional if there's some kind of humor. Not necessarily laugh-out-loud type of stuff, just a sense that there is a humorous edge to things. I do like that.
I never ask my wife about my flaws. Instead I try to get her to ignore them and concentrate on my sense of humor. You don't want any woman to look under the carpet because there's lots of flaws underneath. Joanne believes my character in a film we did together, "Mr. and Mrs. Bridge" comes closest to who I really am. I personally don't think there's one character who comes close... but I learned a long time ago not to disagree on things that I don't have a solid opinion about.
What everyone is always afraid of is the unknown, or the unfamiliar. You got to have a look for a character that is mysterious and menacing, and doesn't quite look like what we've seen before.
There's something known as the Uncanny Valley where things look a little too real and you're not quite sure what you're looking at. It becomes weird like it did in 'The Polar Express,' where the eyes seem so realistic, and yet you know it's animated.
TV and film both attract me equally. In both, you do search for a role that would be enjoyable to do, that has a great storyline and then, secondly, you look at the cast and the crew - are they respectable? How I look at it is my character - has the character got enough substance? It can't just be a one faced character, which is there to fill a gap. He has to have a purpose, so if it ticks all of those boxes then generally it's a good choice.
In theatre, once you've got the character and you've got things together, you can relax into it. Film has a different feel - you don't get that through line of not stopping. Theatre is like a snowball gathering momentum and getting bigger, whereas in film, it's a bit stop and start - but you do tend to adjust to that quite easily.
You know, he would go and look at different funny books because he wanted his character to be different and make different faces. I saw a funny book in his room and it looked like the same character he was playing. It was about a duck.
People like light and silly, and they like stuff that's really energetic, and you get a character in a film bouncing around and screaming, people laugh. That's all it takes. I don't find that funny. To me, what's funny is dialogue and nuance of character and performance.
For this game, we shot it just like it as if it was a film so there wasn't that much different from doing a film other than some technical things for the costume that had to be done so they could transfer the footage later and make it look animated.
The first thing I look for is the humor, because you can tell what the character's fears and insecurities are through the humor.
If I'm not clear with the character, I can't do anything with it. But once I get that character, the possibilities are endless. When you have such a defined character, I feel like I can actually read the phone book and make it funny.
I always look for the character that gets into your guts and tells you, 'You have to play this.' You have to be brave enough to let everything else go and let the character guide you. When I read a script, I look for that kind of pull.
I really took it in-house. The Constantine character has a kind of flesh-and-blood practical look at things that would seem, other people would use the word, occult or spiritual. But here, demons are real. So for me it was more taking it from the film itself. I didn't really need to go outside the piece itself to inform me because the perspective on it, what the character does, was provided by the script.
The [character] that I was able to crawl into the most was Lilo from Lilo & Stitch. This was sort of a cartoony-looking girl, but her problems were completely real. Her funky world that she createdI mean, you know kids like that. It was very honest and genuine and I wanted to do an honest job, so I thought about the character a lot before I animated it. I really got into the character, where [I] almost felt that pain that she had. The loss of the parents - you need to feel all that. That was a big learning experience for me.
I didn't really look like a character actor, yet those were the roles I loved to play. If you were a character actor who didn't necessarily look like a character actor, you had to play bad guys.
Related Authors
Ai Weiwei Quotes
Chinese
Artist
Andy Warhol Quotes
American
Artist
Claude Monet Quotes
French
Artist
David Hockney Quotes
English
Artist
Gerhard Richter Quotes
German
Artist
Henri Matisse Quotes
French
Artist
Kehinde Wiley Quotes
American
Artist
Leonardo da Vinci Quotes
Italian
Artist
Marcel Duchamp Quotes
French
Artist
Marina Abramovic Quotes
Serbian
Artist
Maurice Sendak Quotes
American
Artist
Michelangelo Quotes
Italian
Artist
Paul Cezanne Quotes
French
Artist
Robert Genn Quotes
Canadian
Artist
Robert Henri Quotes
American
Artist
Yoko Ono Quotes
American
Artist