A Quote by Johnny Galecki
In a series, you really need to stay open-minded. It's not like a play or a film, where you can create and fully commit to your character's back-story.
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For me it's a dedication to your real interests. It's an ability to be open-minded. Without an open-minded mind, you can never be a great success. The great artists have been open-minded, even though they may seem, like Picasso, to be very directed, you can be directed and open-minded at the same time. I think you have to be really intensely serious about your work, but not so serious that you can't see the lightness that may also involve your life. You have to have that lightness too. You have to not be so heavy-handed and so ostentatious. It's very important not to be.
One of the best paradoxes of leadership is a leader's need to be both stubborn and open-minded. A leader must insist on sticking to the vision and stay on course to the destination. But he must be open-minded during the process.
I have not chosen to create a linear story, but a series of different narratives: in the end there are five plays that almost, but don't quite, add up to one play... I start with the story of Candide, being performed as a play within a play, to bring the audience up to speed with the story.
You don't want to play a character you can't inhabit or commit to fully.
When you create a character, you create it for yourself - you do whatever you want. It's your job to explore it in as many different avenues as you can in order to make it a fully wounded character.
What drew me to Batman in the first place was Bruce Wayne's story, and that he's a real character whose story begins in childhood. He's not a fully formed character like James Bond, so what we're doing is following the journey of this guy from a child who goes through this horrible experience of becoming this extraordinary character. That, for me, became a three-part story. And obviously the third part becomes the ending of the guy's story.
I personally am happy doing a finite series as I can't play a single character for three years. Hats off to the actors who stay in a character for three four years and enjoy every moment of their character.
I think that open tunings are a trap really because it's really hard not to sound like an open tuning when your using one and that gets old as well as what you learn in one open tuning is going to stay there.
I needed to create some dramatic tension to sustain the interest of the audience. For instance, the boy in the film is not in the play, so this relationship that he had with the former teacher, and his guilt, this is not at all in the play. I thought it would be interesting to look at in the film, and I added stuff like that around the main character. For me, it was not more difficult or less difficult.
Because as an actor, I really feel you cannot judge a character. You have to totally commit to that character. And for me to totally commit to the character, I have to find those places where I understand the sequence of behavior.
I think I fully commit myself to any role to the extent to which I can. In other words there's some roles that maybe it's just not there, in other words on the page. You know, I mean your job is you need to play the governor and that's what you do. I mean I'm not going to stay up all night if I'm playing a functional role. And I've played a couple of functional roles. And so I'm not going to do anything other, look he's a functional guy. He says hey mister, you forgot your hat.
There's a positive side to film and television, the sense of feeding into the theater... Your fans will follow you, hopefully, and be open-minded to see you play other things and experience other stories you want to tell.
He seemed very calm. He was controlling of the offense, making call and checks and things like that. But things happen and we have to readjust and come back stronger every series and at times we failed to do that as an offense. But we need to improve on that. It's something we need to learn from and the type of guys we have on this team, the character, I see us really improving from this.
In the mid 1990s the Korean film industry was really open-minded.
I don't feel like you can fully find the true character until you're in his wardrobe, on set, and really getting into the scene. And that's when you really find out who your character is.
Animation story boarding works differently than live action story boarding. The story crew along with a writer really does shape and create the film - the world and it's characters. We meet almost every day and brainstorm the plot of the film. It's a highly collaborative process - and we continue to improve the story until we literally run out of time.
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