A Quote by Mahershala Ali
The work that I do with all of my characters is have some sense of where they come from. I kind of create my own story for myself. What's going on with my parents? Are they alive? Or family - do I have children? Do you see those things or not?
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I can't live in a bubble and expect to come and work with Dior or go work on a movie and not have some kind of an evolution within myself and my own thought process and a passion about things or what's happening in the world. All of those things are the elements that make you who you are, and those are the things that sincerely come across in a photo or a commercial or in an interview. That's a constant thing for me.
I love these kind of movies as a kind of cinema-going geek myself. Those characters, you want to be like those characters when you go to the movies. You know, when you see a movie with a guy who's really cool and the killing's slick and easy. I don't know. There's something intoxicating about it.
I can’t say that there are “things” that make me come alive. There are thoughts that make me come alive. Those are thoughts that take me beyond myself; that remind me that there’s a bigger game going on on this planet than simply my own existence; that love works miracles, and how much we need them now.
I believe that to create real-seeming characters, the writer must be willing to go on a voyage of self-exploration. It can be revealing and even painful to explore your own weakness, but it gives you genuine emotion. Characters in fiction come alive because of the believability of their emotional lives and that is what I strive to create.
I come from a performing family. My parents are Nigerian, and their parents and their parents - and it's all about performance in their culture, you know. The music. The dancing... you're told to stand out at family gatherings and perform in some sort of way. You're just kind of born into it.
You know, people see [August: Osage County], and I tell them that it's based on my family, and they assume that I came from some kind of horrible, hysterical circumstances. That's not true. My family, my nuclear family, was actually very close. My mom and dad were great parents and they encouraged a real rich, creative life for me and my brothers. My extended family, like every family, has some darkness, and some violence of some kind, emotional or otherwise, in their past.
I see this with experienced writers, too: They worry so much about the plot that they lose sight of the characters. They lose sight of why they are telling the story. They don't let the characters actually speak. Characters will start to dictate the story in sometimes surprising, emotional, and funny ways. If the writers are not open to those surprises, they're going to strangle the life, spark, or spirit out of their work.
To go too much another way, for the sake of my ego in wanting to create something... in the situation of Superman is just wrong. Especially since we're continuing, in a sense, that story. The characters have to feel somewhat similar. What are you going to do with Superman? The world, and all the people that have created it, created him and have all kind of come together to make this image. Everybody kind of has the same idea of what it should be. So for me to go, "Okay, no, I think he should have a southern accent." Or something crazy, just doesn't make any sense.
Before I begin a novel I have a strong sense of at least one central character and how the story begins, and a more vague sense of where things may wind up, but at some point, if the novel is any good at all, the story and characters take on lives of their own and take over the book, and the writer has to be open to that.
The actors come in and they make characters their own and so Patrick and I have never been the kind to think that our script is the bible. We want to make sure that the story is told, that you stick to the story but if you have to make changes to the character then that's fine. A lot of times there are some funny one-liners, funny things that happen that are out of the ordinary. I like it.
I don't have the best family life. I'm not going to have a sob story and be like, my parents abandoned me, because they didn't. But they also are not that present. When I'm alone, I'm alone. I don't have anybody to call, and so I have to create meaning from myself.
Every movie has three things you have to do - you have to have a compelling story that keeps people on the edge of their seats; you have to populate that story with memorable and appealing characters; and you have to put that story and those characters in a believable world. Those three things are so vitally important.
You have to do three things really well to make a successful film. You have to tell a compelling story that has a story that is unpredictable, that keeps people on the edge of their seat where they can't wait to see what happens next. You then populate that story with really memorable and appealing characters. And then, you put that story and those characters in a believable world, not realistic but believable for the story that you're telling.
When I create characters, I create a world to inhabit and they begin to feel very real for me. I don't belong in a psych ward, I don't think, but they become very real, like my own family, and then I have to say goodbye, close the door, and work on other things.
I think up to this point, it's been difficult to suggest a world where Batman and Superman and Wonder Woman and others could exist in the same universe. That was one of the things I really wanted to try and get at. Not to mention, the amazing opportunity to bring those characters and have those characters tell an important story, their own story, within the confines of a film.
Children are to be born into a family where the parents hold the needs of children equal to their own in importance. And children are to love parents and each other.
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