A Quote by Jean-Luc Godard
The tree or the road - the ones I know of, finally they are the only characters I know really. The human characters I don't know. So there is both something I know and something I don't know. And I put them together.
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What attracts me to material are characters that I know - characters that I know people don't know but I know - and bringing them to the screen. Spotlighting voices that have not been heard before on screen.
Every time I think I’m getting smarter I realize that I’ve just done something stupid. Dad says there are three kinds of people in the world: those who don’t know, and don’t know they don’t know; those who don’t know and do know they don’t know; and those who know and know how much they still don’t know. Heavy stuff, I know. I think I’ve finally graduated from the don’t-knows that don’t know to the don’t-knows that do.
Creating characters is like throwing together ingredients for a recipe. I take characteristics I like and dislike in real people I know, or know of, and use them to embellish and define characters.
I know my limitations. I know I'm not perfect. I know what I know, but more importantly, I know what I don't know. When I don't know something, I surround myself with people I can trust to teach me.
The secret at the heart of 'The Memory Keeper's Daughter' is something everybody, except for some of the characters, knows in Chapter 1. Some of the narrative tension comes from that distance between what the readers know and what the characters know.
I love these kind of movies as a kind of cinema-going geek myself. Those characters, you want to be like those characters when you go to the movies. You know, when you see a movie with a guy who's really cool and the killing's slick and easy. I don't know. There's something intoxicating about it.
Television is a lot more fast-paced, where with films, you really have the ability to get to know your characters. When I was doing guest star roles, I was only one, like, one episode of a thirty minute to an hour show, so you don't really have time to get to know my characters.
What I know is the characters in a Southern town. I know the cadence of the language and the voice of Atlanta because I've lived here for so long. And I know the neighborhoods, and I hopefully know the people, and I feel a connection to them. And I also feel like I'm honoring them when I talk about them.
You know, I really enjoy longevity. I see actors in their forties and they just turn out these really fabulous roles and characters. You know who they are, but you wouldn't necessarily know their names.
We are literally like sisters: you know their ins and outs; you know if something is on their mind, that something's bugging them. We know when something is going wrong, and that instinct you can feel instantly.
It's funny because a lot of people that know me as a dancer, don't know that I'm a singer, and a lot of people that know I can sing don't know I can dance. And so, I feel like at some point I have to show them both and really be able to display it and showcase it, and put that out there.
I think people are a mixture of everything. I like desperate characters because they do things that most of us normally wouldn't do. If a character is a scoundrel or a liar you think you know them, but then I can bring some emotion to them and they become much fuller than you ever imagined. So what I try to do is have a story where you don't quite know where it's going, and characters who you don't quite know where they're going.
It's funny what [producer Richard Zanuck said about even though you can't quite place when the book or the story came into your life, and I do vaguely remember roughly five years old reading versions of Alice in Wonderland, but the thing is the characters. You always know the characters. Everyone knows the characters and they're very well-defined characters, which I always thought was fascinating. Most people who haven't read the book definitely know the characters and reference them.
I don't think any of us know how we would react until we were put in a situation where we have to do something bad or do something good. I think I'd like to believe I'd act like a decent human being, but I'm realistic to know I don't know.
I really don't like to go for the stereotypes. I try to give you characters that you don't know until you get to know them, and [decide] how you should feel about them.
There was this large group of people that we were talking about on the first album - "The Youth" - but we didn't really know what to tell them. We still don't know what to tell them, but we want to make it seem like maybe there's something we know that they want to know, too.
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