A Quote by Kirsten Prout

As for dream roles, they usually just speak to you. I just crave complex characters. — © Kirsten Prout
As for dream roles, they usually just speak to you. I just crave complex characters.
My characters are much more famous than I am, so I don't crave attention; I just crave working and doing good work. Having a feeling of self-worth.
We just need more complex, important roles that tell our experiences as an immigrant; as someone with an accent, but also American; but also someone who's second or third-generation American, born and raised here who actually don't speak any language other than English.
In making Achilles and Patroclus lovers, I wasn't trying to speak for all gay men, just as when I write straight characters, I don't claim to speak for all straight people. My job as an author is to give voice to these very particular characters - these two men, in this time, and in this place
I've been very lucky with the roles that I've played in that they were wonderful roles for women. They're incredible, flawed characters that I really gravitate toward. I just never want anybody to be able to put me in a box.
I just rely on the text to speak for itself and then speak it as I believe it to interpret it, and then just know that the rules of the world that we're creating allow for things to come to life, and then just trust in the process of making a film. Hopefully we'll make a sequel, because if we do, we had such a great time as an ensemble, I think the best thing to do would be to just take the whole cast back. This is Iain's idea and I agree with it. Just reincarnate all the characters and put them back into the world. There's no rules. Why couldn't we do that?
When 'Raazi' released, I think I was ready to embrace complex roles and some challenging characters with responsibility and restraint.
The American horror movies are more moralistic, they have not only good characters, but characters where the ultimate danger is death. What I like about European cinema is they have another sense of what's good, what's bad, and sometimes all the characters are far more complex than just that. It's less binary, the Giallo genre.
The fact that I'm able to portray these complex, fully realized, queer Asian characters? I never thought it would be in this position. You just never see those types of characters and that type of representation.
There's a remarkable amount of sexism on TV. When male characters are flawed, they're interesting, deep and complex. But when female characters are flawed, they're just a mess. It's good to put more flawed but interesting female characters out there because it promotes equality.
I'm so sick of hearing how there's no strong roles for women. I don't care about strong roles. I just want to see women who are characters! A nun, a serial killer, a housewife, as long as there's some depth there.
Plot is just not my gift. I'm fascinated with complex characters, and that doesn't mix well with complex plots. And by the way, when the plot is simple, you can move one piece around and make it feel fresh. Hell or High Water's a good example: I don't tell you why the brothers are robbing the bank.
It's just that the characters are speaking their mind. As opposed to it just being an expression, they're actually saying what's on their mind, and that's something that Tennessee Williams is really famous for. Shakespeare does that and Tennessee Williams does that. You crave that, when you're an actor, for sure.
I always found growing up that, even inspiring female characters or complex female characters in TV and film... I often found that their complexity was actually just another facet of their sexuality.
I know how sad it is when you won't be able to realize your dream. But do you know what's great about dreams? You can always have a different dream. Just like the way you dream every night in your sleep, you can just dream another dream. You're not throwing your dream away, but having a different dream.
I was thrust, excitingly, via 'Elizabeth' and 'Shakespeare in Love,' into a position one can only dream of, but it was startling, too. I was offered a multitude of roles riding horses in flouncy shirts, and I just thought, 'Hang on, I've just done that. What next?'
We all dream dreams of unity, of purity; we all dream that there's an authoritative voice out there that will explain things, including ourselves. If it wasn't for our longing for these things, I doubt the novel or the short story would exist in its current form. I'm not going to say much more on the topic. Just remember: In dictatorships, only one person is really allowed to speak. And when I write a book or a story, I too am the only one speaking, no matter how I hide behind my characters.
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