A Quote by Mark Goddard
The only person who had any control was Jonathan Harris. His character was so flamboyant that he was able to make things happen. My character was fairly one-dimensional, so I had my relationship with Dr. Smith and with the family.
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There is nothing like being able to develop a three-dimensional character over a long period of time. Sometimes you aren't able to fully portray a character because you only have a couple of scenes to do it in, and you don't get the full life and background of that character.
When I was acting, I got trained in creating a character as a three-dimensional person. If you're doing it right you should be able to draw an audience into the character's world and make them feel their fears.
I had always thought of myself as fairly tough and fairly strong and fairly able to cope with anything. And then I had a series of personal losses. My mother died. A relationship that I was in came to end, and a variety of other things went awry.
I definitely wanted to pay homage to what he did and use his performance in the first one as a foundation. But, I had to make it my own. I couldn't sit there and try to imitate Michael Clarke Duncan. I think that would have been disastrous. I had to make it my own. I tried to take as many nuances that he had with the character and utilize them as best I could, while creating a character that was unique to me. That's going to happen, no matter what.
Socrates was famously executed for his philosophical and political beliefs. I wondered what would happen if you had a similar character, who was so relentlessly questioning of everything? In a modern society, would we be any more or any less tolerant of that kind of character?
Obviously, when you're in theater, you have to be in character. You have to prepare for the unexpected. You have to be able to react to things that don't necessarily happen every night, or aren't supposed to happen every night. And you have to react to it in character. In six months, 192 shows, those things did happen. And the experience of that, the ability to stay in character, I feel like I've learned a great deal.
I'm a huge fan of BioWare games. I think they do some of the best character-building. I mean, I have a relationship with Thane from 'Mass Effect' that is as vivid as any crush that I've had on a TV-show character.
You want to be able to really tackle a character and make it a fully-dimensional human being who is complicated, funny, and all the things that a person could be. If you can achieve that, you feel great. You so rarely get to do that as an actress in general, but as a black actress, it's almost never.
I had a lot of time to myself, and I would listen to a lot of music, mostly music that I knew fairly well and had a relationship with. And I'd think, well, what is it that I've never been able to do that this person or people are able to do with this song? Why haven't I been able to do it, and what can they do that I wish I could do? And then I'd try to do that. I'd start each day getting into the songs, and I'd think about how I might get closer to this music that I love, but haven't been able to make before.
With any television series - and it's something that is taken for granted with movies because you have the whole arc within two hours - you establish who the character is and it's a two-dimensional version, or if you're lucky, a two and a half-dimensional character. Once you establish that, you can move forward and break all the rules. Once the audience has accepted who the person is, then you can do the exact opposite. What makes it funny and interesting is doing the opposite.
The program of A.A., as written by Bill Wilson and Dr. Smith, only has one purpose: to get you sober. That's it. To make you a better person, forget it. That was one of the things he came to understand in those years of trial and error. It has to be about only one thing.
I had my guitar at the set of 'Lost in Space' every day. I was the only one in the cast who had a stereo in his dressing room. So while I was in school or when I was in there working with Dr. Smith and the robot, half the rest of the cast was in my trailer listening to their records that they would bring.
Never open your story with a character thinking, I advise my students. As a further precaution, don’t put a character in a room alone – create a friend, a bystander, a genie, for God’s sake, any sentient creature with whom your main character can converse, perhaps argue or, better yet, engage in some action. If a person is out and doing, it’s more likely that something interesting might happen to her or him. Shut up in a room with only his thoughts for company well, that way lies fictional disaster.
I think every time you take a female character, a black character, a Hispanic character, a gay character, and make that the point of the character, you are minimalizing the character.
A guy's who has all the money he needs and never faced any hard times, he won't have any character. But when you've had it tough and you've had it rough and you thought you were at the end of the rope and you work your way out of it, that's the way you build character.
I don't know for a fact, but I feel fairly certain that the first person who described a movie as 'character driven' had to have been a producer or studio executive.
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