A Quote by Jeff Lemire
Sometimes, if you have a lot of history with a character and a lot of affection, it's hard for you to do anything with that character. Like with Swamp Thing, for instance, I revere the Alan Moore run so much that it would be hard for me to do my own Swamp Thing. I care too much about the way it was done before.
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I've always wanted to make 'Swamp Thing.' I like 'Swamp Thing.' I think it's a good idea, and I thought it would be a good venue for a 3-D movie, but there were rights issues with 'Swamp Thing.'
There are so many books I love for different reasons. For superhero stuff, I always go back to Alan Moore's 'Watchmen' or his 'Swamp Thing' run. Those are my two favorites, and there are indie books that I really love, like Eddie Campbell's 'Alec' books and 'From Hell.'
I just started calling myself 'Swamp A-.' Like, I have swamp a- right now. I had major swamp a- because I was wearing these Spanx to hold in my gut ... It's like the bayou up in that region.
I like to have a much greater base and know a lot more about my character before I begin to fill the person. So a lot of it really entails sit-downs with them, determining who she is, where she came from, and why she reacts a certain way, and then I was really able to expand upon a lot of that and create a lot of that story on my own.
In our time, we have become too interested in the artist and his or her character and experience as a way of understanding art. In my view, you should be able to read a book or see a film without knowing a single thing about conditions or circumstances or character of the artist, and experience the work to the full without such information. Sometimes I feel - speaking for myself - that people know much too much about me, and I wish people knew less and could just read these books and respond to them purely as words on a page.
It's unwise to pay too much, but it's worse to pay too little. When you pay too much, you lose a little money - that's all. When you pay too little, you sometimes lose everything, because the thing you bought was incapable of doing the thing it was bought to do. The common law of business balance prohibits paying a little and getting a lot - it can't be done. If you deal with the lowest bidder, it is well to add something for the risk you run, and if you do that you will have enough to pay for something better.
I'd like to play a guy who doesn't think so much. I'd like a character whose words come out before he thinks about it. I want a character who is just kind of dumb in that way. A guy who doesn't have too many dangerous, devious ideas. It would be fun to play a role like that.
I quit because that thing inside of me that was driving me to drink that way was causing me so much pain that I was starting to get afraid for my own life, and my own health. It wasn't necessarily one instance. It was a lot that had piled up.
Does character develop over time? In novels, of course it does: otherwise there wouldn't be much of a story. But in life? I sometimes wonder. Our attitudes and opinions change, we develop new habits and eccentricities; but that's something different, more like decoration. Perhaps character resembles intelligence, except that character peaks a little later: between twenty and thirty, say. And after that, we're just stuck with what we've got. We're on our own. If so, that would explain a lot of lives, wouldn't it? And also - if this isn't too grand a word - our tragedy.
People assume a lot of things about gymnasts - that the girls work too hard, it's way too much for them, they are too young to work so hard.
I would get a lot of writing done if I lived in isolation in a cave under a swamp.
Well, I don't know anything about television. I'd never done it before. Initially, it was quite daunting to take on so much challenge and so much time with it. I think it is a great outlet for an actress because you really have 13 hours to bring a character to life, which is so much more than with film, and you have the luxury of time to tell a story and to really color a character.
Sometimes I think too much, or sometimes I don't think enough as the character. Sometimes you just miss a moment, or sometimes you hear something that a character's saying that you haven't heard before and you react differently.
What gets yme excited about a project and character is the director, the script, who's involved in the movie, and the character. Those are pretty much the essentials. If it's something different, if it scares me, in a way, if it will stretch me or push me into certain places that I haven't been to, then I like that. If you're just trying to talk yourself into it, then it's probably not for you. It's hard to be selective.
Sometimes the director will want you to write about the character, sometimes he'll want you to live in the location that the character is from or something like that, but I don't usually make a lot of notes or anything like that.
I don't want to take shots at professional actors, because obviously the great ones are great. But I do think that given the kind of stories I've been telling in my films, it's hard for me to imagine how professional actors would have done better. And it's easy for me to imagine how they would have done worse. Because I think a lot of what an actor is trained to do and a lot of what an actor's instincts point toward is clarification, is always making it clear what's happening in the story, how the character fits into the scene, what the character wants.
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