A Quote by Hideaki Itsuno
When we decided to make 'DMC5,' one of the things we said off the bat is, 'Let's make a new character.'
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My character Jack in the New York Spring Spectacular is a lot of fun. He's playful, he's full of life. He can make things come to life. He can make things happen.
You are now at a crossroads. This is your opportunity to make the most important decision you will ever make. Forget your past. Who are you now? Who have you decided you really are now? Don't think about who you have been. Who are you now? Who have you decided to become? Make this decision consciously. Make it carefully. Make it powerfully.
As an actor you bring some of your own experiences which can make things easier. You build off of it, but your imagination is always the best thing you have as far as creating things I think specifically for what that character is going through. But you're definitely drawing obviously upon things that you can connect to, and then you kind of mold the change that you're making into something that's right for the character.
Somerset Maugham said that it took at least six human beings to make one fictional character. That is true of landscape as well, I think. We have to make our landscapes, change streets, create new turnings, rebuild or tear down, change time, and even nature, if need be.
One of the things that attracted me to Barack [Obama] was his emotional honesty. Right off the bat he said what he felt. There are no games with him - he is who he appears to be.
I'm striving to make things which are the most exciting things I can make that will fit in people's homes. And in that respect, working on the wheel is economically about the only answer I know, because one can, as Leach said, make 50 pots in a day. You can make 100 pots in a day. A really good potter can make 400 pots in a day.
Perhaps not," said Will, who had ears like a bat's. "But I would make a radiant bride.
Looking through a child's eyes and knowing this was another planet, we decided to design the machines with eyes and bodies like animals, we also decided that this planet has two moons, and we decided that anything else we wanted to do was allowed. It was a new perspective to make the film.
I hope I remember everything," said Toni. "You won't," said Trapp. "That's how you learn. But after you make the same mistake one, or two, or five times, you'll eventually get it. And then you'll make new mistakes.
I make a playlist for every character I portray. Music plays a huge part in helping me understand a character. Every time I get a new role, I will take a chunk of time to just sit and listen to a bunch of songs and select the ones that make sense in my mind for that character. I can't even explain how much it helps me.
If a pitcher goes up there and he's throwing a ball and it's a breaking ball down and away or a fastball up and in, a perfect pitcher's pitch, and you're able to just foul it off and stay alive in the at-bat, just keep grinding, keep working through the at-bat and hoping for that mistake that he's going to make. And if he doesn't, then you walk.
From things that have happened and from things as they exist and from all things that you know and all those you cannot know, you make something through your invention that is not a representation but a whole new thing truer than anything true and alive, and you make it alive, and if you make it well enough, you give it immortality.
I told my friend - we were working on a movie together - and he gave me a script and asked me to give him notes. And they were all male characters, and I said, "You know what would make this character more interesting?" And he asked what - and it's this road trip between three guys, basically, one older man, one 30-year-old and a 13-year-old mechanic. And I said, "If you make the 13-year-old a girl, and you make her an Indian-American mechanic." And he said, "What do you mean?" And I said, "Yeah, don't change anything in the script about him, and just make it a her."
The guys that write Once Upon a Time were major writers on Lost, and we had lunch when I started on OUAT and the first thing I said to them was, "I spent five years on Lost, you have to tell me, was my character good or bad?" They looked at me and said, "We have no idea." That's why you have to make your own backstory. I decided Widmore was the evilest of the evil, but in the end, not even the writers knew.
It really depends on what the screenplay is asking of you, and what your responsibility is to that character. You have the author's intent to deal with, you have the filmmaker's vision, and then you have your own wants, desires and needs for the character. It's collaborative. But I knew, right off the bat, that there was no way to go into some sort of pink-haired, clown-nosed character with Ronald McDonald shoes.
The difference between the Old and the New Testament is the difference between a man who said "There is nothing new under the sun" and a God who says "Behold, I make all things new.
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