A Quote by Michael Josephson
We all have three characters: the one we really have, the one we try to convince the world we have, and the one we think we have.
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I would like to carve my novel in a piece of wood. My characters—I would like to have them heavier, more three-dimensional ... My characters have a profession, have characteristics; you know their age, their family situation, and everything. But I try to make each one of those characters heavy, like a statue, and to be the brother of everybody in the world.
What I try to do is write from the inside out. I really try to jump into the world of the film and the characters, try to imagine myself in that world rather than imagining it as a film I'm watching onscreen. Sometimes, that means I'm discovering things the way the audience will, with character and story.
I think if you're going to abuse someone, you really have to convince them of two things. First, you have to normalise what you're doing, convince them that it's not that bad. And the second thing is to convince them that they deserve it in some way.
I think that the British government has long been on the record saying global warming is a very serious issue and we need to do something about it. I think what they did was they took their own economic experts and they said, "This time, let's try to put together a document that will really convince the rest of the world of a position that we've been holding for a while."
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.
Political analysts say that President Bush's re-election strategy is to try and convince Americans that he's a war president. I don't get that, do you think that'll work? I mean, don't you think that if he tries to convince the American people that we need a war president, isn't he afraid that they're going to vote for the guy that was actually in a war?
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.
There's always this joke that I say in Israel: people don't really have discussions; they just try to convince the other people that they are wrong or they are right - they just try to impose their opinion on the others. Sometimes I think it's easier to avoid talking about things and just make music.
I have people ask me if I'm going to convince my daughters to be Democrats, and I say, 'I have yet to convince my daughters to close a door.' I don't how in the world I would ever convince them to be in a political affiliation.
Before you try to convince anyone else, be sure you are convinced, and if you cannot convince yourself, drop the subject.
I think that I write much more naturally about characters in solitude than characters interacting with others. My natural inclination - and one that I've learned to push against - is to give primacy to a character's interior world. Over the three books that I've written, I've had to teach myself that not every feeling needs to be described and that often the most impactful writing more elegantly evokes those unnamed feelings through the way characters speak and behave.
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.
For me, a place unvisited is like an unrequited love. A dull ache that- try as you might to think it away, to convince yourself that she really wasn't the right country for you- just won't leave you in peace.
I think the characters Nick and Solomon, the characters on Fear Street,' were definitely further from myself. But I think ultimately I do try to look for the gristle in every character.
I like complex characters. I've been very, very lucky to portray, in these past three years, characters that are strong and fragile at the same time. It's those characters that I'm looking for. In the last year and half I played three different religions, and that allowed me to educate myself so much.
I think when people try to use their art for political views, I think they're art becomes smaller, less interesting. And so for me, as an artist, I'm trying to speak about things in a universal way and not be pedantic or small-minded and try to convince other people of my political views. But having said that, every day I live in sort of complete terror because of what I read in the newspaper and what is going on in the world. I'm constantly, as I think many of us are, overwhelmed by the sort of, mass psychosis that's occurring.
