A Quote by Nathan Fillion

When people embrace character, it informs their living, breathing moments in a scene so well. — © Nathan Fillion
When people embrace character, it informs their living, breathing moments in a scene so well.
When people embrace character, there's latzie. It's the stuffing of a scene that's not written. It's not in the stage direction and it's not in the words. When people embrace character, it informs their living, breathing moments in a scene so well.
For me, the costume is 50% of everything. It informs posture, it informs flexibility, it informs the way you walk, it informs what the character is capable of doing, at any time.
To tell you the truth, while I do enjoy the grand-scale elements, it's the personal scenes, the character moments that I really find satisfying. That's where I get to delve into the characters' minds and hearts. That's where they become living, breathing beings to me.
In 'Tintin,' it's like a live-action role. You're living and breathing and making decisions for that character from page 1 to page 120, the whole emotional arc. In an animated movie, it's a committee decision. There are 50 people creating that character. You're responsible for a small part.
I believe that a great character can be made in one scene, or a few moments.
What draws me to roles, I think, are moments - moments that define character, where so much more of the story is told in just a moment - a look, a line, a short scene, but something that speaks a volume, something that speaks to me.
When you're doing a play and you're afraid of a scene, that's the scene you should embrace, because that's the scene that will tell you something about the play.
And whether you're drawn to gospel music or church music or honky-tonk music, it informs your character and it informs your talent.
I went from people just thinking I was, like, a baby to people thinking I’m this, like, sex freak that really just pops molly and does lines all day. It’s like, 'Has anyone ever heard of rock 'n' roll?' There’s a sex scene in pretty much every single movie, and they go, 'Well, that’s a character.' Well, that’s a character. I don’t really dress as a teddy bear and, like, twerk on Robin Thicke, you know?
I'm in a wonderful position now because the rise of the whole Houston scene, the scene that we've been doing for years that people really didn't embrace a long time ago and now they're embracing it. It's good to be in the middle of that during the uprising.
If you're writing a scene for a character with whom you disagree in every way, you still need to show how that character is absolutely justified in his or her own mind, or the scene will come across as being about the author's views rather than about the character's.
In playing the part of Mammy, I tried to make her a living, breathing character, the way she appeared to me in the book.
In playing the part of Mammy, I tried to make her a living, breathing character, the way she appeared to me in the book
I believe that every character is a setting, a world with moving parts, and on the other hand, every setting is, in fact, a character - a living breathing thing with personality and backstory. The way stories come to life, at least for me, is when these elements commune in relationship to one another.
When I listen to my scene partners and listen to their breathing allows me to be connected to them in scenes. I am not trying to multi task, not trying to talk on the phone, but in my character.
Breathing in, breathing out, ain't that what it's all about. Living life crazy loud, like I have the right to.
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