A Quote by Elizabeth Olsen
And at NYU, I went to the Atlantic Theater Company, and they have two main points. One of them is to always be active in something instead of just feeling it. And the other is figuring out your character.
Related Quotes
I always did plays, and when I went to NYU - and I didn't go to Tisch, the theater school, because I was like, 'Well, acting's not realistic. You can't make a career out of it.' So I just studied general studies and humanities at NYU, but I was doing plays while I was there. So I was sort of cheating.
If I am walking with two other men, each of them will serve as my teacher. I will pick out the good points of the one and imitate them, and the bad points of the other and correct them in myself.
I think any filmmaker will tell you when they wandered from theater to theater to watch their prints, it was disheartening to see the poor levels of light and the disrespect for films that existed in certain theater chains. It was always inconsistent. And in the lab, too, the photochemical process was very difficult to watch, because sometimes they were shipping prints that you didn't even know were two points off or three points off. We suffered greatly to make these films, and they'd be out-of-focus, with the sound too low.
I think high school's very difficult. You're figuring out your own power and your effect on other people. You look back and see how you spent so much energy on figuring out things with your parents or your peers.
High school taught me a valuable lesson about glasses: Don't wear them. Contacts have always seemed like too much work, so instead I just squint, figuring that if something is more than ten feet away, I'll just deal with it when I get there.
Now it's just sharp elbows, and instead of having a caucus where you sit down and say, 'What are you doing for your country?' you sit figuring out how to screw the other side.
Never open your story with a character thinking, I advise my students. As a further precaution, don’t put a character in a room alone – create a friend, a bystander, a genie, for God’s sake, any sentient creature with whom your main character can converse, perhaps argue or, better yet, engage in some action. If a person is out and doing, it’s more likely that something interesting might happen to her or him. Shut up in a room with only his thoughts for company well, that way lies fictional disaster.
Let's take something like antidepressant medications. There's decent science saying it has an effect, but it's shockingly small after you control for penetration of the blind, people knowing that they're getting the active pills versus sugar pills, if you use an active control. It's probably only a few points. But it's a multi, multibillion-dollar industry. And by the way, has huge side effects. 40 percent of the people taking them have significant sexual side effects. And that's just one. A single antidepressant medication can be worth a billion dollars to a company.
What are the two biggest things online? Selfies and emojis. We're combining them. Instead of sending some character that means nothing with a hat - what if it was your face doing something? Me-moji.
In the biographical novel, there's only one person involved. I, the author, spend two to five years becoming the main character. I do that so by the time you get to the bottom of Page 2 or 3, you forget your name, where you live, your profession and the year it is. You become the main character of the book. You live the book.
If I write a character, instead of looking from the outside, like maybe a journalist would, trying to describe them physically and figuring out what kind of things they might be interested in or have in their house, I don't really do it that way. I try to feel what it would be like to be inside this person, to be them.
I came to NYU to study experimental theater. Shortly thereafter, I was featured in a 'Newsweek' article about the emerging downtown club scene, and, well, that was it for NYU. I was off and running.
When I'm drafting, I suppose it's an intuitive process - figuring out when something just has a surreal glaze on it and when it grapples with something that could threaten a character's day-to-day reality.
I've always had great satisfaction out of writing the plays. I've not always had great satisfaction out of seeing them produced-although often I've had satisfaction there. When things go well in production, on opening there's no nicer feeling in the world-what could be nicer than watching an audience respond? You can't that from a book. It's a fine feeling to walk into the theater and see living people respond to something you've done.
Some people make you feel better about living. Some people you meet and you feel this little lift in your heart, this 'Ah', because there's something in them that's brighter or lighter, something beautiful or better than you, and here's the magic: instead of feeling worse, instead of feeling 'why am I so ordinary?', you feel just the opposite, you feel glad. In a weird way you feel better, because before this you hadn't realised or you'd forgotten human beings could shine so.
The main plot line is simple: Getting your character to the foot of the tree, getting him up the tree, and then figuring out how to get him down again.
Related Authors
Angelina Jolie Quotes
American
Actress
Carrie Fisher Quotes
American
Actress
Cate Blanchett Quotes
Australian
Actress
Drew Barrymore Quotes
American
Actress
Emma Watson Quotes
British
Actress
Jane Fonda Quotes
American
Actress
Jennifer Aniston Quotes
American
Actress
Kate Winslet Quotes
English
Actress
Kristen Stewart Quotes
American
Actress
Lena Dunham Quotes
American
Actress
Marilyn Monroe Quotes
American
Actress
Meryl Streep Quotes
American
Actress
Mindy Kaling Quotes
American
Actress
Sandra Bullock Quotes
American
Actress
Selena Gomez Quotes
American
Actress
Viola Davis Quotes
American
Actress