A Quote by Karen Traviss
Whether I build a character from the ground up or develop one, whether within my own copyright or in licensed work, I can step into that character's mind. It takes a kind of voluntary dissociation akin to method acting, military planning, marketing, or detective work: to think like the other guy and work out what he's going to do next.
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Your work isn't just to learn and say the lines. Your work is to figure out what the chatter in your brain is, that's going on under the lines. It doesn't matter whether you're speaking or not speaking because your mind is working the way your character's mind would work.
That's one of the challenges of acting. You can't expect that you're going to be successful, but you've got to put your heart and everything you have into it. Look at a guy like Ian McKellen, who is eighty or whatever, and he's just loving his work and you can see that in the work. That defines what type of actor you are. And what kind of people want to work with you. And whether you can do this job for a long, long time.
I have a great fondness for any character I work on. Whether it's somebody like Batman or Harley Quinn or whatever character I'm writing, I just really enjoy the heck out of it, and I try to do the best job I can with it.
Whether [people] run their own business, work for a business, go out there, pay their taxes and see the money wasted, fed up with the money going to the next door neighbor sitting permanently on out of work benefits. There needs to be a coalition of change.
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.
I feel like most actors just dig and dig and work and work in whatever way they do to try to do as much as they can to portray a character in the limited time they have to play it, whether it's six months or one month or one week of work, you know.
o matter how much research you do, or invention you do, whether it's a character from a novel, a completely invented character or someone who actually existed, it's a work of faction. By the very fact you only have an hour and a half or two hours to tell a story, you're telescoping events and it is, in the end, a work of imagination.
I'll come up with an idea for a character, and I'll write some jokes and make sure that that character is going to have some legs to it - that it's really going to work. If I can come up with jokes and material that I think will work, then I make a cheap version of the doll. Achmed started out just being this little plastic toy from the store.
I think as an actor... I don't like to compare a character to anybody else, just because I respect other people's work, and I want that character to have his own identity.
Look at a guy like Ian McKellen, who is eighty or whatever, and he's just loving his work, and you can see that in the work. That defines what type of actor you are. And what kind of people want to work with you. And whether you can do this job for a long, long time.
Value work. But not any kind of work. Ask yourself "Is the work vital, strengthening my own character, or inspiring others, or helping the world?".
It takes a certain kind of mind to narrate, to work through character motivation, to be unforgiving to one's writer-self when it comes down to creating the minutiae of detail. Writing fiction requires stamina, a sense of how people's lives work, how people work toward and against one another and, above all, precision.
When you work on a pre-existing character, when you end up getting invited to be part of a legacy character like Superman, I don't feel like it would be true to the character if all I did was go in looking to express my own voice.
I come from the mind-set that, if you want it to work, it will work, whether it's a friendship or a relationship. If you're both in the same mind-set and you want to be together and you want to make it work, you can make it work. It just takes dedication and knowing that there might be some miscommunication and lack of communication sometimes.
The guy says, "When you work where I work, by the time you get home, it's late. You've got to have a bite to eat, watch a little TV, relax and get to bed. You can't sit up half the night planning, planning, planning." And he's the same guy who is behind on his car payment!
I already love the idea that Barry has a colleague. It seems like a love/hate thing between my character and his already. They work together, so they clearly have some tolerance for each other, but they're just ruffling each other up the wrong way, constantly. I don't know whether that will lead to him being suspicious of Barry's identity or whether he'll have some clash with The Flash.
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