A Quote by Lone Scherfig
I loved the tone and the characters. They're all very different and they're all very typical for their time. When you read the screenplay you feel like meeting them and getting them off the page and on to the screen.
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Normally you read a screenplay - and I read a lot of them - and the characters don't feel like people. They feel like plot devices or cliches or stereotypes.
With any good projects, I feel like the off-screen chemistry factors on-screen. It's great when you don't have to force it, but when it's not there you better focus on getting there, because as we live with these characters we spend more time with one another than we do our families at home.
With any good projects, I feel like the off-screen chemistry factors on-screen. It's great when you don't have to force it, but when it's not there, you better focus on getting there because, as we live with these characters, we spend more time with one another than we do our families at home.
For the past few years my fans have made it very clear that they would like to read my novels and revisit my family of characters faster than I can write them. For them, I am willing to make a change to my working methods so the stories in my head can reach the page more frequently.
I love meeting booksellers and readers and hearing how they've read and received my stories. Often I'm surprised by which characters they've loved best, what scenes have stayed with them, what connections they've felt between my characters' lives and theirs.
There is a remarkable nimbleness of style, a balancing act of tone, in Voltaire, which is hard to bring off on stage. When you speak the words out loud, the effect is very different from when you read them. So one needs to do something new with a stage performance, not simply 'tell the story'.
Even when you think you can detach yourself from the characters, you don't. Because you're spending so much time trying to realize this person and make them real that they do infect you, in a way. And you do take them home and live with them, even if you think you're turning the character off. But in order to pull off a role convincingly, you wind up thinking about that person all the time, and it does sort of creep into you. And then there are things that you'll respond to, or react to in a very different way than you would normally.
When I read the statements of Christ, there seems to be this urgency and intensity. I guess that's what I get out of it when I read the tone of the Scriptures, which is very different from the tone of our culture.
When I read the statements of Christ, there seems to be this urgency and intensity. I guess that's what I get out of it when I read the tone of the Scriptures, which is very different from
the tone of our culture.
I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.
To portray an iconic character has been brilliant in itself, and to be able to do that on a show like 'Once Upon a Time' enhances that because the show puts a spin on characters and makes them very different and puts core values that are very different that aren't in the original fairy tales a lot of people relate to.
Don't equate activity with efficiency. You are paying your key people to see the big picture. Don't let them get bogged down in a lot of meaningless meetings and paper shuffling. Announce a Friday afternoon off once in a while. Cancel a Monday morning meeting or two. Tell the cast of characters you'd like them to spend the amount of time normally spent preparing for attending the meeting at their desks, simply thinking about an original idea.
I am very honest with them - with an understanding that I'm doing them a disservice if I'm not telling them what I see. At the same time trying to remember that they're people and they're children and you know they are going to have off days and that's something that I feel like I've had to work on as I've gone down the coaching route.
I very much write from characters. Those people start speaking, and then I have them in the house with me and I live with them. Then at some point, it's time to get them out of the house. You can only live with someone like Dr. Georgeous Teitelbaum from THE SISTERS ROSENSWEIG for so long, and then it's time for her to go. But it is very like having the company of these people and trying to craft them in some way into a story.
Working with different people anyway is like life and meeting different people... as long as you can be empathetic, you can take a bit of them on and see what you can do to help their process. That said, my relationship with Woody Allen was trying to hang on his every word so that I could tell everybody what he said afterwards. But certainly, he was a very good example of somebody who you didn't hear talk above a very low volume for the entire time he was on-set.
Any time you read a book and get attached to the characters, to me it's always a shock when it goes from page to screen and it's not exactly what was in my head or what I was imagining it should be.
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