A Quote by Lesley Sharp

I don't think anyone's interested particularly in watching stuff that's just about two-dimensional characters anymore. — © Lesley Sharp
I don't think anyone's interested particularly in watching stuff that's just about two-dimensional characters anymore.
I don't like to think that maybe I'm just getting old. I'm not too excited about watching a huge explosion. I'm more interested in people and characters.
About half the scripts sent to me feature characters I just can't identify with, particularly one-dimensional businessmen or, if it's a comedy, some absurd 10-year-old Japanese stereotype, some role related to IT or business... There's no point in getting mad about it; it's just the way things are.
There's no particular role that comes to mind that I'd like to take on, but for me, it's about playing interesting characters and not just two-dimensional ones.
When you're in your early 20s, a lot of characters can be one or two dimensional. You want a role to substantiate the drama, as opposed to actually analyzing the psychology of a human being. That's what drew me to acting, particularly the contradictions in people.
My wife is very interested in fashion. I am absolutely not. I couldn't give a toss. Fashion is a perfectly valid thing to be interested in. I'm just not particularly interested in pop culture. I think I am more interested in things that have a settled permanence about them.
I don't personally try to balance my work because I operate under the assumption that anyone reading or watching my stuff isn't having a particularly balanced day anyway. But negative attitudes just amuse me more than positive ones.
Even when I'm writing animation, I think of them as real people. I think of them as completely three-dimensional beings, even if it's a talking teapot. I don't think of them as one-dimensional drawn characters running around. Maybe that's why, to me, there's really no difference in writing the two - animation versus live action.
I'm not particularly interested in playing characters that think the way I do.
In comics, there are depths that don't reveal themselves immediately, and the stuff that you might consider anal about 'Watching the Watchmen' - like the notes where I plot the rotation of a perfume bottle through the air - might not be particularly obvious to anyone who reads it.
I also have just my own limits about stuff. I'm not interested in writing graphically about sexual assault for example. I feel like the stuff that I'm fascinated by is the stuff that's part of the public imagination of what horror is. The bleakness is a different issue. I think that just stems from my personality. I wish that I offered a little more glimmer of hope sometimes.
Really good acting is not about dialogue. It's really just about small moments that really make the whole entire scene and the intention completely different than even maybe what the characters are saying. Two characters could be saying, "I hate you, and I don't want to be with you anymore!" But yet somehow, their toes are just inching more, you know, closer to each other. So a really big thing about acting is really just with your body.
I don't particularly enjoy watching films in 3D because I think that a well-shot and well-projected film has a very three-dimensional quality to it, so I'm somewhat sceptical of the technology.
Often, female characters are quite one dimensional, especially in a two hour film; television gives characters room to breathe and develop.
Tina Fey writes crazy, off-color, racist, hilarious stuff for '30 Rock,' but it's always funny because you're in this almost two-dimensional world where there's Jenna Maroney and these over-the-top characters. That's the framework.
There are so many female roles - particularly for young women - that are just somebody's girlfriend or somebody's daughter, or that are accessories to the main story rather than being three-dimensional characters.
I'm very interested in how we read things, especially the link between seeing two-dimensional and three-dimensional images, because of how I read.
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