A Quote by Josh Schwartz

I want every character be an outsider in some way. — © Josh Schwartz
I want every character be an outsider in some way.
For me as an actor, you always sort of want to bring yourself to a character in some way. You want to find a way to approach something in a way that's real and interesting, and also so there's some empathy there.
Trump is considered to be an outsider. The establishment doesn't want any part of Trump. They don't want him to succeed. And I would throw some Republicans in that as well. It's just the way Washington works.
In so many roles I've played the outsider. As an outsider, you have more energy to succeed simply because you are an outsider. There are scripts floating around but they're not coming my way and I think that I am getting a little bit too old to play Napoleon. But if I was ever offered the role I would grab it.
The character we've always thought of as the Wicked Witch of the West is a green girl who's actually very good, misunderstood, and trying to make her way in the world. She's an outsider looking in, wanting to be loved. That's a universal experience that everyone's felt at some point in their lives.
I don't want a perfect character, I want a character who has, as strange as it sounds, some humanity, some flaws, some needs.
I think being an outsider in general always helps you in comedy. I think it helps to have an outsider's eye. And so I have an outsider's voice. You know, as soon as I start talking, I don't belong here. And I think that helps in a way.
Everybody think they're an outsider - that word's over! When I was young, being an outsider, I thought it was a bad thing you didn't want to be.
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.
I always want the audience to identify with my character in some way. I mean, sometimes you'll get characters that aren't very identifiable. Sometimes you can't relate to your character at all.
You go through your life feeling like an outsider, and you respond to society in a different way when you feel like an outsider.
I want a script to affect me in some way. I am usually drawn to character studies, scripts about real people and the world we live in not some fantasy.
Not every character that you play is going to be somebody that you like or love, but every character that you play has a story that is worth telling. If you're not the person to tell it, that's one thing. But if you don't want to tell it because you are afraid of the unpopularity of the character, I view that as a missed opportunity.
I guess my personality is that of a modern, strong Chinese woman. I don't believe in destiny. There are many things that can be changed. I don't like to be defeated by difficulties. I love freedom, so when I am shaping a character, I usually do it the way I want. I always find some part of my own character in a role.
I think every time you take a female character, a black character, a Hispanic character, a gay character, and make that the point of the character, you are minimalizing the character.
For a long while, I found Parker impossible. He went away for 23 years. I tried to bring him back a few times, and I sort of figured out where he came from, why he went away, and why he came back. The thing that I have to tap into for Parker is in some way the outsider. If I can tap into the outsider, I can write about Parker, and if I can't, I can't.
The way I write is that, every time I reintroduced a character, I'd have to face some kind of inner demon.
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