A Quote by Edward Albee
Your source material is the people you know, not those you don't know, but every character is an extension of the author's own personality.
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Movies are a powerful medium. People think you are your character. I've had plenty of people who think I'm Drago. They don't know about the chemical engineering part of my personality. They don't know about the geek part of my personality.
I believe that every man can multiply his own ability by almost constant wordless realization of his unity with his Source. I have, myself, made that feeling so much a part of me that I actually feel myself to be an extension of the Source; that my works are not my own, but interpretations of this Source.
Every time I think I’m getting smarter I realize that I’ve just done something stupid. Dad says there are three kinds of people in the world: those who don’t know, and don’t know they don’t know; those who don’t know and do know they don’t know; and those who know and know how much they still don’t know. Heavy stuff, I know. I think I’ve finally graduated from the don’t-knows that don’t know to the don’t-knows that do.
I mean every character you totally, you know, the full fiber of the personality is kept in the film, and all of those little moments, all those funny little tidbits are all in there.
Those media reporters who know me well and my friends know what my real personality is. Those who read newspapers and watch TV don't know what my real personality is.
Ultimately, I don't think you can be a character who's completely alien or divorced from your own personality. It's probably true of every writer - it's probably true of every filmmaker, every songwriter - that, ultimately, every character you create is a facet of yourself.
Yes, I am one of those people who feels that most of my work is adaptation of one sort or another. For me, it's a way to jump-start the engine. For example, some people use the technique of basing a character on a friend. They start writing with his or her voice, then at a certain point, the character takes off on his or her own. It probably no longer resembles the model, but it helped the author to get going. I find that's true of form, too. For every play I've written, I know what play I was trying to imitate. That helps me get going.
Write what you know. Every guide for the aspiring author advises this. Because I live in a long-settled rural place, I know certain things. I know the feel of a newborn lamb's damp, tight-curled fleece and the sharp sound a well-bucket chain makes as it scrapes on stone. But more than these material things, I know the feelings that flourish in small communities. And I know other kinds of emotional truths that I believe apply across the centuries.
I can't tell you about acting. You can develop all the skills, voice, gesture, movement, you can develop by exercise and practice but finally fundamentally it's mining from yourself, from your own personality, from what you know. If you can't know it you can have a good guess by people you know or books you've read.
You know like it has its own personality, its own character.
I would want people to be their own superheroes, save their own days, know that nobody else is gonna do it for you. You have to pick yourself up out of your dark moment; you gotta be your own source of light, just like I was for me.
I want to know if you can see beauty even when it's not pretty, every day, and if you can source your own life from its presence.
So that's why one of my rules of parody writing is that it's gotta be funny regardless of whether you know the source material. It has to work on its own merit.
Mike Leigh encourages you to choose a person that you know to base your character on. You write a whole list of people that you know and you go through that list in great depth with him. And then he chooses one of those people from your list.
As an author, I realise, you're on your own. You have to do everything you can to help The Book. If I make sure people know it's out there, they can make up their own minds whether they want to read it.
In real life, you don't know what's going to happen to you, so why would your character know? It's liberating to play the emotion your character is feeling at the time and not know what's coming up. I like it.
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