A Quote by John Singleton

As a storyteller, when you see somebody who is the character you envisioned, you feel this energy in the room. — © John Singleton
As a storyteller, when you see somebody who is the character you envisioned, you feel this energy in the room.
People say, 'Well, whose career do you follow? Where do you see your career going? What movie do you want to do next?' And I can't tell you what type of movie I would go and do next. I would have to read the script and feel for a character. And if I feel in my gut for a character, I know that that's somebody I have to play.
You know how you feel somebody looking at you, and you turn, and somebody actually is? It's the same at an art gallery. You're looking at one portrait, turn around, and there is a work of art directly behind you. Because it's all energy. Every single thing has energy.
I love the idea that somebody is going to compare me to my character or think that I am like my character when they see me. I feel like that is a role that I am willing to fulfill.
I actually take images of things and put them up around the wall and in a room. I set a room aside. It might be colors, it might be animals, or energy and words. And I'll just leave it there, so it begins to work on my subconscious when I think about the character. Which gives me some latitude to be really flexible and spontaneous but within the context of the character and the world of the character without having to think about it. Or I'll look at something or read something and let it work on my subconscious mind.
We want to be able to fly. We want to be able to sear somebody with lightning from across the room. Those are primal desires, to shoot somebody with energy.
More than anything I want to get up there and hang out with the audience, make everybody feel like it's fun and they're involved and are just, like, friends hanging out in somebody's living room. I went to see Carole King on her 'Living Room' Tour, and that's the kind of feeling I'm aiming for.
You need energy and life force to see and feel what you need to do. Otherwise you are in a dark room and you can't tell what's going on. You need to practice meditation.
Also, in my acting, I feel very much like a storyteller, exploring the flaws of the characters that I interpret. I look for the imperfections, and I love a character that is just so flawed.
The first job of a storyteller is to make the reader feel the story, to get the reader to live in the skin of the character.
I really feel that a big part of my job - besides getting the money - is to see to it that Woody [Allen] has what he needs to make the film that he has envisioned.
When I'm writing from a character's viewpoint, in essence I become that character; I share their thoughts, I see the world through their eyes and try to feel everything they feel.
Every character thinks differently, and every character has a different energy and way that they tick. But to find a character like Kai, who is so far that he doesn't even feel things, he is so different from me. That is the most exciting part.
When I'm inside the character, I feel like I'm a different person, and then when you see that character on screen and I see that it's me, I find that disappointing.
The way I write my shows, every character is its own organic thing. No character has a life at all until I see it played by somebody.
We need the expressive arts, the ancient scribes, the storytellers, the priests. And that's where I put myself: as a storyteller. Not necessarily a high priestess, but certainly the storyteller. And I would love to be the storyteller of the tribe.
Working with Robert, Robert [Elswit] is a storyteller. He's not a cinematographer, he's a storyteller. And to me, that's the graduation I hope to get to in my profession. That I'm not just an actor, I'm a storyteller. And I think that takes a long time in, when you have one job on a movie set. Makeup artists, actor, whatever. To graduate from just that to storyteller.
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