A Quote by Nathan Fillion
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.
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When people embrace character, it informs their living, breathing moments in a scene so well.
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.
Stage is so important because it teaches me how to convey character with words - how to convey how a character reacts by the way they appear on stage. I can usually tell a playwright from someone who has never written for the stage. Did the character work? Did the dialogue reveal who the character is?
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.
You learn the values that are inherent in the scene that the writer has written. You learn about who you as a character are in relation to those others who are working with you within that scene.
I know it sounds silly, but in auditions for film or TV, the words aren't as important - you need to get into the character and have the gist of the scene. But in theater, if you don't do it word for word, then you throw off your scene partner.
If I'm preparing for something and I've got a huge day the next day, I have to get into character the night before to assess the scene. I can't assess a scene unless I'm in character, if that makes sense.
A well-written character is one where you don't know in which direction it's going; the character could spring a surprise any moment.
A movie and a stage show are two entirely different things. A picture, you can do anything you want. Change it, cut out a scene, put in a scene, take a scene out. They don't do that on stage.
A movie and a stage show are two entirely different things. A picture, you can do anything you want. Change it, cut out a scene, put in a scene, take a scene out. They don't do that on stage
If I did the structure and had this thing about a straight character, I would never have a sex scene to prove that he's heterosexual. If I have a gay character in a movie, I need to have a sex scene in it - just to prove that he's gay?
I believe that a great character can be made in one scene, or a few moments.
I love Charlie, Billy Burke's character. Writing for him is so spectacular, he's so funny and wry and every scene he's in he just takes. There's a scene in 'Eclipse' where Bella tells him she's a virgin, and it's the funniest, most awkward scene I've ever seen on film.
For a sitcom sex scene, you get in bed and that's the end of the scene. It quick and it was fast, but it was foreign territory for me. Not for Bobby. Bobby Cannavale has been down that road before. With my character, I think it will be a one-and-out. I don't think you'll see my character [in Vinyl] naked again, so relax everybody.
I've found that when I'm having trouble solidifying a character or a scene, that music will often free my subconscious just that last little bit to allow me to move forward, and often it's in a direction that I didn't expect, but is 100 percent true to the character.
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