A Quote by Frances McDormand

In my theater work, I've had much more three-dimensional, broader-stroke characters. — © Frances McDormand
In my theater work, I've had much more three-dimensional, broader-stroke characters.
Now that we've seen broader representation of trans identities, I think it's safer to explore the fault in these trans characters and make them entirely human and three dimensional.
Television's so quick, and there's so many other fun elements to it, but you don't get such good scripts and the time to really make much more three dimensional characters.
I would make a huge distinction between theater improvisation and film improvisation. There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage. But in a movie, it has to be real, and the characters have to look entirely real because it's being done as a faux documentary, so there are even fewer actors that can do that on film.
I like three-dimensional characters - it's just more interesting when you get on set.
Let's be real: more often than not, Hollywood does not have three-dimensional characters for women to play.
I think, the first time I played Iago at the Public Theater, I realized I had a - much to my chagrin - I realized I had an instinct for these conflicted characters, for these torn characters, for these characters who could be described as evil. I wouldn't describe them that way.
I would like to carve my novel in a piece of wood. My characters—I would like to have them heavier, more three-dimensional ... My characters have a profession, have characteristics; you know their age, their family situation, and everything. But I try to make each one of those characters heavy, like a statue, and to be the brother of everybody in the world.
If a shadow is a two-dimensional projection of the three-dimensional world, then the three-dimensional world as we know it is the projection of the four-dimensional Universe.
Genes are effectively one-dimensional. If you write down the sequence of A, C, G and T, that's kind of what you need to know about that gene. But proteins are three-dimensional. They have to be because we are three-dimensional, and we're made of those proteins. Otherwise we'd all sort of be linear, unimaginably weird creatures.
I love the fact that there are more and more young people out there who still want to make a flat two-dimensional surface come alive with three dimensional magic.
There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage.
I always felt like Azula and Long Feng were much more interesting villains and three-dimensional characters than Ozai, who was just sort of a big jerk. Like a really big jerk, but not very complex or human.
I think having funny characters is just one way of having three-dimensional characters.
I think that I write much more naturally about characters in solitude than characters interacting with others. My natural inclination - and one that I've learned to push against - is to give primacy to a character's interior world. Over the three books that I've written, I've had to teach myself that not every feeling needs to be described and that often the most impactful writing more elegantly evokes those unnamed feelings through the way characters speak and behave.
It's certainly more interesting for me as an actor, but I think it's also more interesting for the audience to see three-dimensional characters, rather than just a bad guy or a good guy.
. . . I felt that making her one-dimensional would be an insult to the audience, and also not as interesting. All destructive people have an inner side to them, and the more three-dimentional your characters are on screen the more compassion you can open up in an audience . . .. To me, that involves the audience more, it stimulates them and asks more of them.
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