A Quote by Jonathan Jackson
Often times, if a character is pretty straightforward, he or she is not as interesting to portray.
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In my books, women often solve the problem. Even if the woman is not the hero, she's a strong character. She does change the plot. She'll often rescue the male character from some situation.
The more limitations you put on a character often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.
The more limitations you put on a character, often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.
I loved 'Tin Cup' because even though that character had her own career and was strong, she was pretty confused. I think she was my favorite character because she was well-rounded. She didn't have it all together.
It was interesting to portray a character that was so far removed from today's world, but was also at the forefront of feminism at that time.
Shamshera' is a dream project and I feel blessed to have an opportunity to be a part of it and portray such a different and interesting character.
I am very outspoken, can be pretty stubborn at times and also very straightforward. I am pretty outgoing and love partying.
I tend to like strong female characters. It just interests me dramatically. A strong male character isn't interesting because it has been done and it's so cliched. A weak male character is interesting: somebody else hasn't done it a hundred times. A strong female character is still interesting to me because it hasn't been done all that much, finding the balance of femininity and strength. [From a 1986 Fangoria interview]
I've dropped myself into straightforward character pieces in order to explore that form and reap its values. But you are sort of restricted visually when your first requirement is to tell a fairly straightforward story.
When you do animation - well, straightforward animation, although it's not straightforward - the voice for a character or something, they're always singular experiences, really.
Quite often there's a great deal of disagreement within the executive branch about what we should do. Some cases are pretty straightforward, but a lot of them aren't.
Penguin is this interesting figure within the city of Gotham. He's this guy who has worked in the shadows and publicly. He's skirted the line between lawful and completely chaotic or villainous. He's risen and fallen multiple times in the ways that pretty much no other character can dream of.
I loved playing Go Go, because the character's so extreme. And she's pretty close to my real character. Especially the fact that she liked her sword with a lot of accessories.
It is hard to describe the thrill of creative joy which the artist feels when the conviction seizes her that at last she has caught the very soul of the character she wishes to portray, in the music and action which reveal it.
Also, with acting and dancing I portray a predetermined character and story for the most part, with music I have the creative freedom to create a song on a whim with whomever I choose and at whatever time I choose to do it. It's more liberating artistically and that's why I've stuck with it. It's a good balance to be able to portray a character and also be myself in avenues that I'm passionate about.
The thing I'm writing now, I have various characters, and all of a sudden, out of nowhere, this couple dies. And they have a daughter. ...I thought, 'OK, we have to do something with the daughter' ... then I realized she's not really their daughter. She has her own story. And she's become the most interesting character. She was this throwaway character that I didn't even conceive of before I started writing her into it, and now she's become very important in this book.
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