A Quote by Michelle Monaghan

It's an interesting opportunity to do a long-form character and really have the time to find the nuance over an extended period of time. You can really dig deep. — © Michelle Monaghan
It's an interesting opportunity to do a long-form character and really have the time to find the nuance over an extended period of time. You can really dig deep.
For me to have the opportunity to stay with one character for, God willing, a long period of time, is really exciting.
I just want to play strong characters, whatever that is in. For me, television is where it's at. You get to play a character for a long period of time, and you get to dig deep. It's a home to go to.
I really enjoy the constant change in TV. It's fun to play a character that is, hopefully, growing and developing over a long period of time.
In order for a long piece of work to engage a novelist over an extended period of time, it has to deal with questions that you find very important, that you're trying to work out.
I love the long-form format of television. I love being able to develop a character, over a long period of time.
Working in television it's really great to be able to stick with a character for a long period of time. It's not like you have one shot, and that's it. You have more time, more room, an ability to reflect on your performance and the character and how much has really been shown, and what you'd like to see. It's nice. You have more breathing room.
With the long-format interview, I can get into really interesting conversations with my guests. You know what it's like to get the opportunity to speak to really interesting people and pick their brain about things. To have time to let a guest actually speak and tell a story and get into detail is really exciting.
What I have learned from working on those great shows is what is the DNA that makes them so deeply involving and interesting for an audience over a long period of time. So much has to do with character, complexity, and sophistication.
Theatre is all about the process and the sense of community that is created. You have weeks of rehearsal, time to explore your character and get to know the other actors. There is opportunity to try off-the-wall ideas, to find layers and nuance over weeks. You become like a second family with your cast.
I think it's really great to be able to stick with a character for a long period of time. It's not like you have one shot, and that's it.
I don't really want more time; I just want enough time. Time to breathe deep and time to see real and time to laugh long, time to give You glory and rest deep and sing joy and just enough time in a day not to feel hounded, pressed, driven, or wild to get it all done-yesterday.
I think that a lot of the time I don't go for something in particular. I see what comes to me, I filter it out. I never really strive to play a particular character or do a particular genre of film. As long as it's a good script and a great range of people and my character is really interesting I can't see any reason not to do it.
That first match there in Dallas for the G1 was the first time they'd really seen me work as a singles competitor in a really long time. This was kind of a coming-out party. I took it as an opportunity to really kind of reinvent myself. And really start the journey that is The Murderhawk Monster.
You get to know a character that you play on-stage in a pretty profound way over a length of time. I don't want to sound highfalutin and say you become the character, you just start bringing more and more of yourself to the part until the character and actor, it's hard to tell them apart. It's some weird amalgam. In film, because of the period of time, I don't know that you ever get that deep into it.
It's really hard to find a love song that is real. That's when you really strike a chord with somebody, when you dig in deep and grab a hold.
All success is, really, is having a predetermined plan and carrying it out successfully over a long period of time.
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