A Quote by Kari Skogland

I tend to use a lot of movement in both camera and characters, and I also tend to give characters a lot to physically do. — © Kari Skogland
I tend to use a lot of movement in both camera and characters, and I also tend to give characters a lot to physically do.
I tend to write about towns because that's what I remember best. You can put a boundary on the number of characters you insert into a small town. I tend to create a lot of characters, so this is a sort of restraint on the character building I do for a novel.
There's a lot of thinking when you choreograph something. You're not just choreographing some bodies, arms, legs flying around to look cool. It's a lot more complicated and sophisticated. You also have to deal with the connection of the whole film, so when I choreograph, I think of the movement itself, the camera angles, the characters.
I think there are a lot more relationship scenes in my movies that people tend to overlook. A lot of scenes really feel real and are about the characters.
I tend to spend a lot of time building characters that the reader will believe in and sympathize with.
I tend to play a lot of characters that are 10 or 15 years older than me.
When you are drawing characters to serve a plot purpose, you tend to get flat, stereotyped, unliving characters.
A radio play actually ended up being the first acting job I ever had. A lot of times when I'm on camera, I'm playing characters that are more like myself, and I don't get to do a lot of real character work. But when you're doing animation, you are the very epitome of colorful characters. I think I'm just really into make believe.
All characters come from people I know, but after the initial inspiration, I tend to modify the characters so they fit with the story.
I tend to see my characters from inside and outside at once; this is a technique I use to retain a slight distance. It means my characters can act in unexpected ways on two axes: physical and mental. It isn't just, 'I thought this and then I did this,' which is the technique of the modern psychological novel.
There's a whole language to movement and how you embody someone, and how you can use different techniques for different characters. I guess just posture, and the way you walk, and the way you physically are. All of that says a lot about who someone is.
...It's all sort of dreams and it's all illusion. It's theater; it's not real. We're making up stories, you know, and people tend to run into you and believe you are your characters. And I suppose the funny thing is the longer you go, you do become sort of some version of [your characters]. You both diverge from them - you know - you live, but you also permanently inhabit that geography and that mental space - and so you do morph a little bit. We do become what we imagine.
A lot of times the characters I play tend to be kind of loners or they don't have best friends or best buddies.
A lot of members of Congress are isolated. They tend to be affluent. They tend to have a lot of people doing things for them. So sometimes they don't understand what their constituents are feeling.
I do tend to play characters that have a lot of costume and hair change. I sort of like the change of physicality thing.
I tend to sit around with my friends a lot and rant and rave about things I think are ridiculous in the world, and I tend to make fun of myself a lot.
Myself and David, we both love art. We have a lot of respect for Damien Hirst and Julian Schnabel, and we've met them both, and they're very interesting characters. I also have a lot of respect for the working women out there. As you know, it's not easy when you're looking after children and you have a career as well.
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