A Quote by Elizabeth Marvel
The audience has its own gestalt, and it becomes another character - a character that changes each night.
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Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.
I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.
Each instrument has something to say to you. It's got its own character. Each horn has its own character and will say to you certain things. If you violate that, it's almost a sacrilege!
Until a character becomes a personality it cannot be believed. Without personality, the character may do funny or interesting things, but unless people are able to identify themselves with the character, its actions will seem unreal. And without personality, a story cannot ring true to the audience.
I would want the audience to simply see the character I portray in each movie in its true essence because I feel acting is all about truthfully portraying the character.
I think every time you take a female character, a black character, a Hispanic character, a gay character, and make that the point of the character, you are minimalizing the character.
What I do is give Ennio Morricone suggestions and describe to him my characters, and then, quite often, he'll possibly write five themes for one character. And five themes for another. And then I'll take one piece of one of them and put it with a piece of another one for that character or take another theme from another character and move it into this character.... And when I have my characters finally dressed, then he composes.
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.
Character is just another word for having a perfectly disciplined and educated will. A person can make his own character by blending these elements with an intense desire to achieve excellence. Everyone is different in what I will call magnitude, but the capacity to achieve character is still the same.
You can reveal yourself on stage in a way that you can't on TV. If you drop a character on TV, it's death. Each character has to be ruthlessly, faultlessly played. But live, you can hint at what's going on behind. You can let the audience in a bit and go off the script.
I realized there's a difference between creating a character and sustaining a character. The challenge that comes with sustaining a character is that you have this sudden impulse to think about all the things the audience liked.
I think it always helps when you build a character, and then, you actually step into that character's wardrobe, something else happens. Another angle of the character comes to life.
When we approached the project, the very first thing we did was take each character and say, "Okay, where would this character be?" We didn't want them to be caricatures of themselves. We wanted them to live and breathe, and grow with the audience and with us.
How many times can you play an action character, or a quirky romantic? Every actor has to find his own way to make each character unique.
I don't only act out of my character; my character reacts to my actions. Each time I why, even if I'm not caught, I become a little bit more of this ugly thing: a liar. Character is always in the making, with each morally valenced action, whether right or wrong, affecting our characters, the people who we are.
I must say Steven Spielberg was great to me, and I loved working with him. He called me up on the phone and was like, "I want you to be in this movie - 1941. There are a couple of parts. You can take whichever one you want. One of them is a main character who is involved in everything, and there's another character who has his own storyline and goes off on his own. He's probably the funnier, more unique character." I said, "Well let me do that second one."
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