A Quote by Frank Bruno

From my sketch files I'll find a pose that shows the emotion behind a particular character's story. — © Frank Bruno
From my sketch files I'll find a pose that shows the emotion behind a particular character's story.
I find that most people know what a story is until they sit down to write one. Then they find themselves writing a sketch with an essay woven through it, or an essay with a sketch woven through it, or an editorial with a character in it, or a case history with a moral, or some other mongrel thing.
Sketch shows change gears so drastically every two minutes. I think sketch shows are for sketch fans; they're not really for everybody.
Non-fiction, and in particular the literary memoir, the stylised recollection of personal experience, is often as much about character and story and emotion as fiction is.
I have a file - my character box - anything from magazines - a pose, a face - I go through these files and arrange a whole person out of them. Because I think what you wear, it says something. It's not necessarily you, but what you want to project.
Standups have all the talk shows, but you never see a sketch group on a talk show. Even on so-called variety shows, if you do see a sketch group or character, it's written specifically for that variety show and usually written around the host of the show or a celebrity.
It is conceivable at least that a late generation, such as we presumably are, has particular need of the sketch, in order not to be strangled to death by inherited conceptions which preclude new births.... The sketch has direction, but no ending; the sketch as reflection of a view of life that is no longer conclusive, or is not yet conclusive.
I'm a physical actor in that I start with a physical sketch of the character. I find it easier to find inspiration from the outside in. If I find the character's tensions and the way he carries himself or looks, that's going to affect how I talk. So that's how I start to create that person.
The whole thing with the Rick James story sketch and the Prince story sketch - I recounted my past, you know? - and that's what I was doing. It's not like I sat down and said I want to come up with a great story about Rick James. That stuff really happened.
I feel passionately that we need more space on TV for sketch shows for character actors to experiment.
You become a victim of your own success. It's what happens in TV when Fox has a big hit with the X-Files. And they start chasing and the rest of their shows suffer. Because the experimentation that made the X-Files a show is all of the sudden lost.
Showing myself nude from behind doesn't pose any problems, but from the front that's another story. I don't want to lose all my fans!
It shows the truth - that the real meaning of a word is only as powerful or harmless as the emotion behind it.
I think what is nice about 'Elf,' and why it doesn't play as one long sketch, is that the character actually grows up during the course of the film. It's not just a character that you can keep checking in on and keep doing sketches about. It's a story. I'm pretty proud of how we told it.
I think you can't go into any story-breaking process thinking, 'What if they come off as unlikeable?' You just gotta break the story because if you know who your character is, the story will tell you. The story will dictate and say, "This feels off-kilter for this particular person."
I try to find stories that I would think that everyone would find interesting, and just a good entertaining story, and then if I can find a story that has a raison d'etre behind it that I feel is important then that's the best for me.
Find the key emotion; this may be all you need know to find your short story.
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