A Quote by James May

Our 'Top Gear' characters are based on our own characters, if exaggerated and cartoonified. We try not to be completely different to who we are, because you couldn't carry it off in the long run.
In terms of my relationships with a lot of the adult characters, when I was working with Harrison, it wasn't like a verbal agreement, but we both understood that because there was this constant tension between our characters, we couldn't say "Cut" and start acting normal. We had to keep an essence of that relationship in our characters off screen which is really important.
I have always said the success of the show has stemmed from our audience being able to relate to the characters on different levels - being based on the universally loved Arthurian legend is only a tiny part of its success - it's a story about acceptance and growing up. The breathtaking finale of this series leaves you with no doubt that characters have been on their journeys and had their stories told - it's completely the right time to draw our telling of the story to a close.
One thing about our show that wasn't even in my awareness, but was brought to my attention by other people, is that our show is about these love-based relationships. Even though the characters are obviously going through different conflicts, you can really feel that the characters love each other. And they really try their best.
There is a misperception, if you will, in critical response or even in Hollywood, that I can only do exaggerated characters. Or what they would call over-the-top performances. Well, this is completely false.
We are starting off with our own different characters and our own laws and everything, looking at Bruce Wayne and how he came to be the person that he was and how he comes to be this man that jumps around in the Bat suit.
It helps to regard soul as an active intelligence, forming and plotting each person's fate. Translators use "plot" to render the ancient Greek word mythos in English. The plots that entangle our souls and draw forth our characters are the great myths. That is why we need a sense of myth and knowledge of different myths to gain insight into our epic struggles, our misalliances, and our tragedies. Myths show the imaginative structures inside our messes, and our human characters can locate themselves against the background of the characters of myth.
Even if there was an opportunity to school yourself in different characters - characters that have distinct personalities which may be totally different from yours, you have got to completely divorce your own personality to be able to go over to the other personality.
It used to be that you had to make female TV characters perfect so no one would be offended by your 'portrayal' of women. Even when I started out on 'The Office' eight years ago, we could write our male characters funny and flawed, but not the women. And now, thankfully, it's completely different.
We really wanted our characters to be very Latin-based because we've always been so proud of our roots.
The Little Friend is a long book. It's also completely different from my first novel: different landscape, different characters, different use of language and diction, different approach to story.
The type of acting that I'm interested in, that I aspire to, is where I try and drag a lot of myself into whatever character it is. They can be very different types of characters, but at the heart of it, I always wanted to be a very, very believable and rooted in reality. One of the ways of doing that is to root it as much as you can in your own experiences and then tint those with different hues, different colors to give the different characters their way.
Sometimes as writers, we try and put narrative development above character development. We try to move our characters around like chess pieces that do our bidding. The problem with that is sometimes the characters do things they shouldn't do. Things that are inorganic.
Ultimately, any character you write - no matter how fantastic or alien - is an extension of yourself. When our characters reflect the truth of our souls and psyches, they become real and compelling. The wonderful paradox is that the characters then take on lives of their own, separate from their creators. That's where the magic comes in.
We try to find the information, the clues, to unlock the play or the story or our characters, especially when they're based on real people that live and breathe.
I've got everything against likable characters. Likable characters are usually completely forgettable, and we don't really care. I think we love villains... precisely because they show us these disturbing complexities that I don't think nice characters do.
We all portray a lot of characters, and once we get into a shot, we have to come out of our skin and be a completely different person.
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