A Quote by Marianne Jean-Baptiste

With a series, you build the character as you go. When you've got a shorter project or a film, you know the overall arc from the beginning. — © Marianne Jean-Baptiste
With a series, you build the character as you go. When you've got a shorter project or a film, you know the overall arc from the beginning.
Every film you're commissioned to write is all about an arc; usually, the arc is that the world creates a change in the character, usually for the better. To not have an arc, the messages and ideas in the film became more prominent.
With a film, you know the beginning, middle and end of your character's arc. But on a TV show, you have no idea where they're going to end up.
No matter how much I plan the overall arc of the character, you get there day one on the film and you shooting certain scenes first, and it goes completely different to anything you ever thought of, and then it's done.
If you mess up the performance on stage, you do it again the next night. You're like alright, you let yourself off the hook, and you've got to go back in there. Whereas, with a film, I would go home and be like, "Well, I've ruined the arc of the character forever. That scene is never going to work. I know because I can never shoot it again." So, it's all miserable, but in different ways.
As an actor, you don't want to know the beginning and end to your character's arc. It makes it more fun. You're not playing the end. You're playing it realistically. You don't know where this character is going to go and what's going to happen to him, which just makes it more interesting for the viewers to watch. They're going on the journey with you, as the actor and the character.
As an actor, you don't want to know the beginning and end to your character's arc. It makes it more fun. You're not playing the end. You're playing it realistically. You don't know where this character is going to go and what's going to happen to him, which just makes it more interesting for the viewers to watch.
A funny thing about film is that it's the only medium where people say there are really rules that you have to stick to. Nobody says to the writer - in a film you've got to have three acts - there's a character arc you have to do - there's no reason that's true.
What's great in theater is that you can sustain the arc of a character for a full three hours, whereas in film or TV, you have to create that arc in little pieces, and usually out of sequence.
There have been discussions of doing 'The Demon Cycle' on both large and small screen scale, and while there is no project currently in development, I think the series has both the big imagery and complex character development to have legs either as a TV series or film franchise.
I think my dream would be to move into film, purely because there's a definite beginning, middle and end to a project. I struggle a bit with such a big series that's going all the time.
When I read a script or I see a character, I don't necessarily see the arc of her, that by the end she is this person, she's different from she was in the beginning. I guess it's more a subconscious understanding of that arc.
I owe my entire to theatre. Simply because, I got so many chances to practice. Playing the same character for days, I could understand and practice on how to build that emotional arc.
I find that in preparation for a drama you can do a lot of character work and develop the character and know what you want to achieve and project throughout the course of the film.
Having been a theater person first, you have the whole character, and you see the arc of the character in a play. And then when you do a movie, you have the whole character - or, if it's a small role, there's not much arc, but you see what the whole part is.
As a writer, you know what the purpose of the scene is. It really has nothing to do with the actor so you have to really get out of that space because for actors it's a micro-focus and then you figure out your arc through what the writers have given you to say. But that arc is just one little piece of the huge arc of the whole film. It took a while to get out of that.
I recently did a play, Athol Fugard's 'Coming Home' at Long Wharf Theatre, where I played one character throughout - I sat at a table and didn't have any costume changes. Following one character's arc from beginning to end is a whole different mindset.
This site uses cookies to ensure you get the best experience. More info...
Got it!