A Quote by Matthew Fox
Filmmaking is always sort of building a mosaic of this arc of what the character is going through.
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I always feel the movement is a sort of mosaic. Each of us puts in one little stone, and then you get a great mosaic at the end.
I just look at the character and the arc of the character, and see if it's going to be challenging. We always want to challenge ourselves. That's the biggest thing that I look at. Is this going to be a challenge? Is this going to be something that I can try my best to create, that no one could see anyone else do?
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.
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.
When you're building a character, or at least when I'm building a character, you start saying, 'How am I going to make people like him?'
Plotting is difficult for me, and always has been. I do that before I actually start writing, but I always do characters, and the arc of the story, first... You can't do anything without a story arc. Where is it going to begin, where will it end.
I always feel the movement is a sort of mosaic.
I go through a whole process with the actors first, building and creating characters, then I encourage them to sort of live in that character when they're in the screen.
For me, one thing I love is having an arc for a character. I love being able to see a character go through something and to learn.
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.
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.
After 'Prom Night' I did two movies where I was playing a prostitute. I gravitate towards characters that have some sort of inner turmoil or some sort of character arc. That's the great thing about acting, so many different things and being really diverse in your choices.
With any project, but especially in television, I always try to look at where the character is starting from and where he's going to end up, and try to find the biggest arc that makes it the most exciting to play.
Some actors - myself included - like to know where your character's going: you like to know what the arc is for the character so that you can plan where you're going to give beats for this, that, and the other and give the audience what they want. But on 'Homeland,' you do the opposite.
The biggest challenge is not the storytelling, it's to track every character's arc through the entire movie.
No test... no testimony. You can not make lemonade with sugar alone... you must have some sour lemons. You can not learn good horsemanship by riding a tame horse. The harder the battle, the sweeter the victory.
Regardless of what happens to you, never say you are having a bad day... say you are having a character building day. All the things that you are going through are building your character. You are being shaped and designed for your greatness. You have something special! You have GREATNESS within you!
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