A Quote by Kevin Williamson
Typically in horror films the character just services the plot, and you really are just going from 'point a' to 'point b,' just so that you can end up at 'point c.' They are just sort of stick characters. That's just not interesting to me.
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You're always choosing the start point and the end point. And almost by definition, the most interesting period is where something happens, as a result of which something is different at the end. And so to me, the idea that you know everything about a character at the beginning is sort of ridiculous. Something has to be revealed. I like it when the deeper you go with the character, the more you see the layers start to peel away. It's more challenging to me, but it's also just interesting. Those are the things I like to watch. I like to watch the evolutions of something.
The writer must always leave room for the characters to grow and change. If you move your characters from plot point to plot point, like painting by the numbers, they often remain stick figures. They will never take on a life of their own. The most exciting thing is when you find a character doing something surprising or unplanned. Like a character saying to me: ‘Hey, Richard, you may think I work for you, but I don’t. I’m my own person.’
When I was younger, I'd make a point of driving to the middle of nowhere and spending an evening with just me, the wind, and the moon. Your skin crawls up an octave. This is what I tap into when I'm working on horror films. I'm just afraid a time will come when I lose touch with that part of myself.
They're making so few movies that you really just have to make it. It's going to be the only way you end up getting work. I don't believe anyone's going to really go out on a limb and just throw millions of dollars on someone that's not been proven. They're going to have to show somebody something at some point.
The films that are interesting you never can stop... there's no end point, you just keep thinking and musing about it.
It took me a while to warm up to smartphones. I just reached a point where I was like, 'If I continue to be a luddite, I'm just going to fall so far behind and become really bitter.'
At some point, you're just happy to be a working actor, but to be able to do it with people you really love and enjoy spending time with, it's just such a rare thing. You hear so many horror stories.
My main point about films is that I don't like the adaptation process, and I particularly don't like the modern way of comic book-film adaptations, where, essentially, the central characters are just franchises that can be worked endlessly to no apparent point.
I think in coaching you just expect it to end at some point by being let go or by being fired. It's just kind of the nature of the business, so I've never really focused on that. I'm just trying to focus on doing the job as well as I can.
What's interesting is that younger characters just have a more vibrant, exciting point of view on the world. They are more emotional, they are more dramatic, and they are just electric.
I'm just an entertainer. In a way crime stories are boring. A crime's been committed and at the end you know it will be solved. So you've got to make the story interesting besides it just being a plot. And that's why character matters, why you've got to make the characters interesting.
I think at some level, it's just alchemy that we, as writers, can't explain when we write the characters. I don't set out to create the characters - they're not, to me, collections of quirks that I can put together. I discover the characters, instead. I usually go through a standard set of interview questions with the character in the beginning and ask the vital stuff: What's important to you? What do you love? Hate? Fear? .. and then I know where to start. But the characters just grow on their own, at a certain point. And start surprising me.
It's great to want to go from point A to point B, sometimes you just can't make that and I just think Bernie will not be able to implement most of what he says he wants to do.
I don't know," I said. "Maybe you're right, and all that stuff I think I missed is overrated. Why should I even bother? What's the point really?" He thought for a moment. "Who says there has to be a point?" he asked. "Or a reason. Maybe it's just something you have to do." He moved down to start bagging while I just stood there, letting this sink in. Just something you have to do. No excuse or rationale necessary. I kind of like that.
I moved to Los Angeles when I was 17. I had just booked 'Alvin and the Chipmunks: The Squeakwell.' I thought, 'Well, I'm just going to move to L.A. and become famous. 'Squeakwell' is going to launch me to that point.' Well, I didn't end up working for, like, three years afterward. That's kind of the name of the game.
Every actor wants to have a character that changes, that has some kind of movement, that gets from point A to point B, that doesn't just supply one note.
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