A Quote by Matthias Schoenaerts
I'm just looking for touching characters.
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I would absolutely love to do something with Viola Davis or Meryl Streep. I just think both of those women fall so deep into their characters that you are no longer looking at the actresses, you are looking at the characters they embraced.
Ultimately, all characters have some negative and positive energies. That's just how I see it. I didn't go out looking for negative characters; I went out looking for people who have a struggle and a fight to tackle. That's what interests me.
It starts with the writing. We have to think of all these characters - we have to treat them all equally. We have to think of them as having an interior life and having motivations. When I'm drawing female characters, I'm looking for that. I'm looking for subtext. I'm looking for ways to make the reader relate to them in a way that goes beyond the pure aesthetic value. You know, just drawing an attractive woman really gets kind of boring after a while.
It's something I'd find rather distracting in a historical piece, looking at characters that have obviously just gotten off their Ab Blaster. You see a piece set in the 1300s or the 1800s, and you've got characters who have perfect abs and are incredibly well-groomed, not a hair out of place, and it just doesn't make sense.
It wasn't really touching to be young; it was touching not to be young, because you had less of life left. Touching to be thirty; more touching to be forty; tragic to be fifty; and heartbreaking to be sixty. As to seventy, as to eighty, one would feel as one did during the last dance of a ball, tired but fey in the paling dawn, desperately making the most of each bar of music before one went home to bed.
Just touching that old tree was truly moving to me because when you touch these trees, you have such a sense of the passage of time, of history. It's like you're touching the essence, the very substance of life.
I am looking for strong characters rather than being just a pretty girl. Actresses can do so much more than looking good.
Usually, I like to play sophisticated-looking characters. I want to do 'Godfather'-like characters. Given my voice and style, such characters will be apt for me.
One of the things that I really love about doing a film is working with actors and the whole casting process. I feel I'm not looking for actors. I feel I'm looking for characters. If the characters come from Bollywood, fine. If they come from Indian theater, perfect.
The funniest things just come from honesty. We have a tendency to see female characters as representative of something larger than what they are, when male characters are just characters.
I suppose I'm always looking for a sort of acuity of perception either in my characters or about my characters.
I look at characters to see if they have some contrasts to play with; I think that's always what I'm looking for in characters: ones that have a wide range of expression.
Art is a funny thing. It's a communicative medium. It really is, and it works outside of literature, the movies, stage, it has its own realm. It's like when you say "The Arts," those are all the arts, dance, theater, ballet. So within that set of areas of expression, we have visual art and it is visual and it's about looking at something and seeing it in the light with our eyes, maybe touching it or not touching it, or wanting to touch it, not being able to touch it.
I find it very funny as well as touching that people associate me with these characters I play and form a connect with them.
There are bands who write of emotions that are very heartbreaking, touching, or relatable, but they'll be like concept records, they're about fictional characters.
I want to go and have a real experience and it's just lovely to sit and watch a movie and just be really transported by a story and care about the characters. That's always what I'm looking for.
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