A Quote by James Hillman

I like to imagine a person's psyche to be like a boardinghouse full of characters. The ones who show up regularly and who habitually follow the house rules may not have met other long-term residents who stay behind closed doors, or who only appear at night. An adequate theory of character must make room for character actors, for the stuntmen and animal handlers, for all the figures who play bit parts and produce unexpected acts. They often make the show fateful, or tragic, or farcically absurd.
The writer must always leave room for the characters to grow and change. If you move your characters from plot point to plot point, like painting by the numbers, they often remain stick figures. They will never take on a life of their own. The most exciting thing is when you find a character doing something surprising or unplanned. Like a character saying to me: ‘Hey, Richard, you may think I work for you, but I don’t. I’m my own person.’
A ghostly side note Soldier boy Miller played a Lucifer-like character in the final two episodes of Joan of Arcadia. Coincidence I do find it strangely poetic, ... that a character who shows up on a show about God to play something kind of satanic winds up in the very last two episodes of that show, and then appears in the show that replaces that show on its exact time and night the following season.
Any script, even like The Founder, if it's something that I imagine myself playing this character or that character - any of the characters, basically - how do we flesh these characters out to be good enough to have amazing actors that come in that make it really difficult for them to say no? Even though I'm not right for any of those parts, that's just kind of how we go about it.
You know when you throw a party, you think people will show up and no one will like each other. It's like that with music - parts of your musical psyche have never met other parts. You wonder if you should get them together.
I signed 'Iss Pyaar Ko Kya Naam Doon' only for a year. But the producer requested me to stay on, as the show had just started to make money. I carried on, and in the process, the character became very popular. When I finally gave up, changing the actor for that character was difficult, so the show ended.
There's two types of character actors. There's character actors who play all different characters. Or there's actors who always play the same part; they're just a bit funny-looking.
I never like to sit and discuss my character, the other character, our relationship, or anything like that. I feel like if I did my job and I trust that the other person has done theirs, you just go on set, play around with it, chew the scene for a little bit; then we roll, and that's it.
I feel like I'm the most well-adjusted character on the show, even though I'm sure the other actors would tell you the same thing about their characters.
None of the actor methods ever discussed what it would be like to play a character on film for over a decade, and what it must be like to return to a character and imagine the time off-screen, which is interesting. There's something as an actor that I enjoy about evolving characters.
You want to be challenged, so you feel like you want to get up and wrestle with the character or enjoy the character - especially with a TV show, because you know you could be doing it for a long time, so you want to make sure it's something you really enjoy.
There are ugly aspects to every single person's character. In being truthful, actors do have to show the ugly side of someone's character. We all behave like dicks sometimes.
Only an open mind still has room for new knowledge. What is outgrown and used up must be discarded to make room for what is yet to be learned. And much of the best thinking is done alone-in deserts, on beaches, in bed, behind closed doors. It is why we say we need to get away-to escape from clutter and busyness-to hear ourselves think.
You can ask goodness in, show it how much you like it, make room for it. And it says, "Oh, I like this place, I think I'll stay here." Which is why people go into one house and say, "I want to take my shoes off." At another house, no matter how beautiful it is, they might say, "Hmm, I can't stay."
My idea of no makeup on actors is really no makeup. I mean, they can be wearing makeup. I don't care what they're wearing as long as it looks like they're not wearing makeup. But an actress will suddenly appear with some lipstick on. And that's makeup. Keener's character wears makeup. Her character would wear makeup. I try to stay true to whoever that person is. I hate that kind of thing where you're waking up in the morning with makeup on in a movie. I just think it pulls you out of the movie.
Obviously, when you're in theater, you have to be in character. You have to prepare for the unexpected. You have to be able to react to things that don't necessarily happen every night, or aren't supposed to happen every night. And you have to react to it in character. In six months, 192 shows, those things did happen. And the experience of that, the ability to stay in character, I feel like I've learned a great deal.
I think behind closed doors people behave differently no matter what period we're looking at, because people have to stand up straight in public but can slouch behind closed doors - can you imagine wearing those corsets?
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