A Quote by Graham Phillips
My character on 'The Good Wife' is a smaller character, and his story arcs are typically season-long, unless it's a big episode for him. His transitions take place over many, many hours.
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The characters are born from repetition, from repeatedly thinking about them. I have their outline in my head. I become the character and as the character I visit the locations of the story many, many times. Only after that I start drawing the character, but again I do it many, many times, over and over. And I only finish just before the deadline.
In civilized life, where the happiness, and indeed almost the existence, of man depends so much upon the opinion of his fellow-men, he is constantly acting a studied part. The bold and peculiar traits of native character are refined away or softened down by the levelling influence of what is termed good-breeding, and he practises so many petty deceptions and affects so many generous sentiments for the purposes of popularity that it is difficult to distinguish his real from his artificial character.
I am a firm believer that the craziest stories that have been told and are being told are in anime. They have character arcs that go over, like, 400 episodes, like a 400-episode character arc.
I definitely have character arcs in mind for each character unless I kill them.
The character of a child is formed largely during the first twelve years of his life. He spends 16 times as many waking hours in the home as in the school, and 126 times as many hours in the home as in the church. Each child is, to a great degree, what he is because of the ever-constant influence of home environment and the careful or neglectful training of parents. Home is the best place for the child to learn self-control, to learn that he must submerge himself for the good of another. It is the best place in which to develop obedience, which nature and society will later demand.
The Problem is: many terrific women have made themselves overqualified for the job of wife, because many men are looking for a woman with 'receptionist-level wife skills', not 'CEO-level wife skills'. Meaning: If a woman doesn't hang on a man's every word, is too independent, challenges his leadership, wants to create her own hours, demands emotional raises, then there won't be as many openings for the kind of wife position she is seeking. One of the big problems with marriages in the nineties: no room for two husbands.
There are not anywhere else so many ways of trickery, so many false lights, so many veils, so many guises, so many illusive deceits, as are practiced in every man's conscience in respect to his motives, thoughts, feelings, conduct, and character.
Episodic TV is notoriously brutal because just when you think 'I've got this, I know this character' you can pick up the script for series four and you die in the first episode - or your character suddenly transitions from a woman to a man.
Crime is one of the leads of the show. If there's ever anything that deals with a character's personal life, you don't have to worry about it getting too crazy. People don't have to worry about character arcs. Each episode is a self-contained unit.
That's what was so amazing about 'Mulan.' Here is this story with all Chinese characters, and yet so many people related to her character and loved the story. So I really think as long as you have a good story that relates to a lot of people, it doesn't matter what ethnicity it is.
There are not that many jobs as an actor where you don't get to know what your character will be doing from episode to episode.
With Aquaman I worked with such talented guys, Ivan Reis and Joe Prado. And he's a great character. I mean, Aquaman's a great character, he just hasn't been positioned in a role of importance in a long, long time. We tried to do that in this series; give him this platform because he deserves it, and give a very different perception of Aquaman while at the same time staying true to who the character is. Showing his power level, his fortitude, his sense of honor and commitment and responsibility, and hopefully showing everything that makes a hero a hero.
No man could bring himself to reveal his true character, and, above all, his true limitations as a citizen and a Christian, his true meannesses, his true imbecilities, to his friends, or even to his wife. Honest autobiography is therefore a contradiction in terms: the moment a man considers himself, even in petto, he tries to gild and fresco himself. Thus a man's wife, however realistic her view of him, always flatters him in the end, for the worst she sees in him is appreciably better, by the time she sees it, than what is actually there.
Reagan wrote out many of his radio commentaries and newspaper articles as well as many of his own speeches. He wrote poetry, short stories, and letters. Trump, in his own hand, writes 140-character tweets.
I am a big proponent of character arcs that show us how people change over time.
You need an actor who can maintain a character over a long period of time. If you have a weak actor, it won't be obvious in two hours, but you'll begin to see his weaknesses over four or five days.
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