A Quote by Jonathan Groff
I sort of have the belief that you work being your character out while you're working on it, or that's been my experience so far. I throw myself into it 100% and try to live in that world, and then when it's over, just sort of be able to leave it behind.
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I think everybody's got different methods of working which suit the particular individual. Mine is to sort of play the part, and give 100%, to concentrate and focus on it while I'm actually working, but then leave it behind until the next day.
There should always be that leeway because if you think of your character as sort of absolutely fixed, then you just try and find actors to come and do exactly that thing, then you're not gonna be working with that actor's own set of internal impulses and who they are, so the best work is always a coming together of the actor and the character.
I try as best as I can to have a normal life. People recognise you, of course, and that's very strange. But I sort of leave my working life behind when I go home. That's my other world.
The kindness I have longest remembered has been of this sort, the sort unsaid; so far behind the speaker's lips that almost it already lay in my heart. It did not have far to go to be communicated.
I try to get my subconscious to puke out as much stuff as I can because I'm really not judging myself while making music. If I crave a frequency in the mid, I'll just drag in a sound and try to mold it into what feels right. It happens very quickly. And if I've been making a piece of music for five hours and it sucks, I'll just throw it away. There has to be an entry point to learn about myself, or an idea I've never tried, because then I can try on a new skin and see the world through a different perspective. If I have that spark, then I'll save the file.
I always have sort of been someone who has contradictory parts, and I haven't tried to uncomplicate myself. I've sort of let things seem contradictory, and sometimes it really confuses people. I don't know if it's working all the time, but I'd rather do that than try to sell myself as one thing or another.
I'm always sort of looking for projects that I can sort of put out into the world, into the public sphere, and to somehow cause an effect. I want to be able to create projects that sort of are going to make people think and think in this sort of magical, sort of fantastical way.
What I think is if the world is in some difficulty - about climate change, about economics - then we had better make sure that 100 per cent of every brain available on the planet is working at full pelt to try to sort these things out.
Sometimes when you do a part, the wall between you and the characters can be very porous. You can sort of move in and out of your character's persona and being. And that just couldn't happen on this one because of working with him.
I never fully got to experience my childhood. I've spent a lot of time having to sort of grow myself up in many ways and also to sort of slow myself down and allow myself to live at the pace that I am.
I'm very sensitive about being held up as some sort of example. I don't consider myself any sort of role model at all. I have great advantages over many other working women, and my schedule allows me more time with my kids than many working women have.
I'm not good at narrative; I'm really a gag writer, and that comes from being in the newspaper comic strip world for a while in college. What I do is I just write tons of jokes, then I sort them out in terms of quality and then pick the best of the jokes and then try to form them into a plot. If I get a good theme going, I feel lucky.
My experience with working with really great actors is you don't have to act. All you have to do is listen. And, that's sort of a virtue and a wonderful thing to be able to experience. It's so much less work.
I believe a good writer can write a good book with any sort of character, in any sort of setting, but I prefer to write about the outsider. It might just be because I've been one (or perceived myself to be one) for so much of my life. But the simple fact of being marginalized immediately brings conflict to a story before the narrative even begins, and that's gold for a writer because it means that your character already has depth before events begin to unfold.
We did so much work developing the character of Kratos, why would we throw all that out? We're sort of treating the first seven games like chapter one of this character's life.
When I find myself having to share a meal with someone who simply wants to complain about the world, I almost feel myself wanting to crawl out of my skin and just sort of scurry away. But being able to pick up on that stuff and being able to easily identify the people walking towards the light instead of walking towards the darkness, that's a skill I'm very, very glad to see growing in myself.
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