A Quote by Donnie Wahlberg

I try to ground most of my characters in reality somehow. That's kind of what I bring to the table. — © Donnie Wahlberg
I try to ground most of my characters in reality somehow. That's kind of what I bring to the table.
I like to think what I bring to the table is kind of a sympathetic and endearing quality, even while I'm playing outcasts or characters that end up in outlandish situations.
Reality's its own thing. And I'm not really into reality that much. I'm into this cinematic stylized reality that can comment on reality. It's like the most beautiful parts of reality and the saddest parts, but it's none of this middle ground.
For me, it is important to pick up characters which I can relate to. Or I recall an incident in my life or tap into my innermost emotions and try to bring that reality on to the screen.
I always try to bring a little bit of my own personality to the character, or some sort of personal connection makes it a little bit more of an organic portrayal and the audience can kind of maybe believe it a little bit more. But I always look for something to kind of connect with and identify with, or bring something of myself to the table.
I don't really compare any of the characters I play; I try to go into them being very open to what the characters can offer and what I can bring to them and then bring a being to life.
I try to be very current. I try to take something from everywhere I've been. I've wrestled in Japan, Singapore, China, Germany, and England. I try to bring a mix of different styles to the table.
Russell Hoban created a tremendous marriage of characters and philosophy. The plots, the wind-up toy characters, the settings, they all work together to support basically a dark vision that the world is kind of a dump. And we all have to find our ways of surviving in it and of making it a better place. It's a world where we don't have much help, other than what we bring to the table. It's a world in which brotherly love counts more than anything else.
On dispersive ground, therefore, fight not. On facile ground, halt not. On contentious ground, attack not. On open ground, do not try to block the enemy's way. On the ground of intersecting highways, join hands with your allies. On serious ground, gather in plunder. In difficult ground, keep steadily on the march. On hemmed-in ground, resort to stratagem. On desperate ground, fight.
The most important thing you can do as an actor is bring as much of yourself to the character to ground the character in some sort of reality, and then you build around it and on top of it.
Revision has its own peculiar pleasures and its own peculiar frustrations. The ground rules are already established; the characters already exist. You don't have to bring the characters to life, but you do have to make them more convincing.
I've seen a lot of good things and a lot of the bad of what Hollywood can bring. At the end of the day, I've found that when you try and fit in, that's a way to go crazy; you kind of lose yourself. I'm sometimes the different one at the table, but I don't care.
I think I'm most comfortable when I function in a parallel space that's not separate from political reality, but somehow comments on it from a different portal. The crisis in the Middle East has been ongoing and repetitive and I feel solutions on the ground have reached an impasse. It is somehow necessary to change the way we approach commentary on the subject. I do think that erecting a meta-space that functions according to its own autonomous abstractions and logic could be more effective in finding ways of dealing with the problem at hand, than using our standard tools of analysis.
Most people are middle class. Most people do wish their lives were better than they are. And I think by making my main characters ordinary, average guys, it helps readers identify with their problems. It also helps ground the supernatural events that follow in a recognizable reality and perhaps gives some of my wilder scenarios a little verisimilitude.
I just write characters, and somehow they happen to be a boy and a girl. When the story is put together, and their characters interwoven, they do end up together somehow.
You're looking for ways always as the writer to bring readers into intimacy, you with them with you. Photos can sometimes do the opposite, create distance and perspective, but these somehow didn't. They somehow bring the reader closer.
I like to play non-cardboard characters. I try and bring out the many complex layers in the personality of the characters I play.
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