A Quote by Noelle Stevenson
Usually I start with a concept, which I then sketch out so that I can get a feel for the character. The character doesn't really become real to me until I draw them.
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I always have to start with a character that I can really hook into, and then build from there. I have writer friends who start from a world, an object or some kind of concept that they then hone and widdle into a story. But, for me, it has to be a character that I can really sink my teeth into and live with, for months and months.
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.
You're in everyone's homes every week as this character, and they feel like they know you, and then they start to really define you as this character that you portray.
What I do is, I'm like a disease that infects real people and I take them over. We can start off in a very journalistic mode describing a character and observing a character - and that's what I do with a lot of characters in my books. And then my imagination eats them alive.
With the type of actor I am, which includes really diving into a role and making it as real as possible, there's nothing better than working in a real environment on location. It forces you to feel what the character's feeling, and it allows you to live in the space of the character.
I don't feel like you can fully find the true character until you're in his wardrobe, on set, and really getting into the scene. And that's when you really find out who your character is.
There's a point I can get to where I start writing character and then through the dialogue, after all of this preparation, the thing starts to feel like it's a character developing through the dialogue. A lot of character traits do come from writing dialogue, but I have to be ready to do it.
Gary Ross one of those directors which lets you do what you need to do to become your character - he lets you try to do everything on your own when you're acting. Then at some points he would say, "Let's try this," or "Let's try that." Most of the time he just kind of let me try to just become my character on my own and it worked out really well.
In most good stories, it is the character's personality that creates the action of the story. If you start with real personality, a real character, then something is bound to happen.
'The 100' gave me this platform I never expected. I didn't expect the character to become anything. I was originally only signed up to do six episodes, and then it just sort of become this whole story and journey, which was an amazing character, a great journey, so that has been incredible, and I didn't expect anything out of it.
If I speak with a character’s voice it is because that character’s become so much part of me that … I think I have the right then to imagine myself into the skin, into the life, into the dreams, into the experience of the particular character that I’ve chosen.
It's really an organic sort of process. You start off with the character on the page. You fall in love with that character and you have to represent that character well and I think it's just an evolution there. Using the accent and speaking the lines with the accent in fact opens the door to who the character really is.
I think it just really excites me, the idea of delving so far into a character that people actually believe it's real, and I start to believe it's real. It's a strange thing to say, but it's the thrill of getting all the details right and being so absorbed in the character that people go along with the illusion.
When I was acting, I got trained in creating a character as a three-dimensional person. If you're doing it right you should be able to draw an audience into the character's world and make them feel their fears.
The first thing that happens is the cleansing of the former character. I don't think a lot of actors talk about it, but there is usually a process where you essentially purge yourself of the character played prior to the movie. Then you want to think about what the character represents, and you write down all of the elements about this character and then take the time to find some synchronicity and start breathing the character.
Sometimes I'll get a premise, you know, for a book. In fact, I get those quite often. And I don't commit to it until I really know the voice of that character. It's almost as if the character is speaking to me.
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