A Quote by George Saunders
I tend to foster drama via bleakness. If I want the reader to feel sympathy for a character, I cleave the character in half, on his birthday. And then it starts raining. And he's made of sugar.
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Once you watch any character for nine-and-half hours, be it good, bad or grey, you tend to attach yourself with it. You always feel for the character, even if he is a villain.
I'm always interested in the ways in which a character can inhabit either a theme or a premise personally, so that those scenes that are about his character or his relationship with other characters feel in context and don't seem to be apart from or oddly vestigial to the actual drama.
There's a point I can get to where I start writing character and then through the dialogue, after all of this preparation, the thing starts to feel like it's a character developing through the dialogue. A lot of character traits do come from writing dialogue, but I have to be ready to do it.
When it's a comedy or drama or horror or romance, it's all the same. You want to be honest with the character. You want to play truthfully and you want to be genuine with your character.
The first thing that happens is the cleansing of the former character. I don't think a lot of actors talk about it, but there is usually a process where you essentially purge yourself of the character played prior to the movie. Then you want to think about what the character represents, and you write down all of the elements about this character and then take the time to find some synchronicity and start breathing the character.
My character should not be ordinary, cliched, and if I feel that it's difficult to do this character, I take up that challenge to get into his character.
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.
Once he became a series character, I made the conscious choice that he would never act like a series character, never wink at the reader, never pull his punches. Better for him, better for me.
Any character that you come up with or create is a piece of you. You're putting yourself into that character, but there's the guise of the character. So there's a certain amount of safety in the character, where you feel more safe being the character than you do being just you
I find that in preparation for a drama you can do a lot of character work and develop the character and know what you want to achieve and project throughout the course of the film.
What I need, as a reader, is a character with a heart and a voice and a pulse. I need a character so vivid and so specific that she doesn't feel like fiction.
I’d like to be the kind of actor who is remembered for my character. You know how there are cases where even when you watch all the way through the end of a drama, you remember the actor’s name, not the character’s. I want my character’s name to be more remembered than mine.
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.
I just didn't want to get bored playing a character, and that's kind of the benefit of doing films; you've lived with a character for four or five months and that's it, and you walk away from that character and you feel like you told a story.
I think that I am interested in the resonance between character drama and high stakes, either situational or political or social or other kind of elevated drama, and I tend to find that those things combust.
I want to play everything. I want to be like Christian Bale: I want to be able to be Batman and then, like, his character in 'The Fighter.' That is what is so impressive about really good actors, that they can be character actors and leading men at the same time.
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