The journey matters as much as the destination. By engaging in the moment on set, I've stopped rushing and now find pleasure in the collaborative process - the characters, the costumes - rather than worrying about the finished product.
I lived with Ilana Glazer of 'Broad City.' She was my roommate for a year and a half. I was living with her just as she was creating and filming 'Broad City.' Both of us, and a lot of my friends, come from the Upright Citizens Brigade theater either in New York or L.A.
I've always coached energy, hustling, rushing to the pile, and if it is wiggling, you do hit it because guys are fighting for yardage, and sometimes, you've got to give up the ball because of one inch.
Creating a world that reflects the inner voyage of our characters was really important. Also, because this isn't a black and white show, and this isn't about bad guys and good guys, but it's about good men being capable of bad things and vice versa, I wanted to be in a city that had contradiction.
The reader has information about the characters that the characters themselves don't have. We all have our secret sides. Even I come to understand things about the characters only through the writing process, as I am going along.
Canada is a broad land - broad in mind, broad in spirit, and broad in physical expanse.
Every actor will tell you it's so much more fun to play the bad guy because usually those characters are more complex and more broad and more interesting, and have more sides to them.
That's what has been so much fun about the whole creative process. You can make your characters have adventures that you haven't had and might wish to have.
Wages will rise, jobs will return, and factories will come rushing, rushing back in to our country.
I don't have a preference for bad people, no. I have an interest in playing a broad range of characters. Obviously, I'm mostly identified with a character who is very responsible, very solid and very intelligent, but there are plenty of questionable characters in my past career. I'm interested in exploring theatricality and characters with some dimension.
'La Cage' has got a broad appeal. It obviously appeals to the gay community, but it's also a good, fun show that appeals across a broad audience, a great big mixture.
I don't like broad swords. They're not much fun. A broad sword is just a big chunk of steel, and there's not much finesse in it, not much skill, I don't think anyway.
The supporting characters typically carry less story/plot weight - so you can be more broad and pushed with them. Supporting characters also take up less of the film's screen time. A short is a great opportunity for supporting characters to shine.
I remember talking to Xavier Woods about so many things and vignettes and backstages and these stories we could do between our crazy weird characters and their insane, obviously fun loving characters and all this stuff.
We try to solve the problem by rushing through the design process so that enough time is left at the end of the project to uncover the errors that were made because we rushed through the design process
My process for determining which eras I'd write about was to just read history books that gave a really broad overview of Chinese history. And when I came across a historical figure or a historical incident that was especially interesting to me, ideas for characters and stories would surface.