A Quote by Patricia Richardson
I don't understand that, because I think that what people like most about the show is that they recognize themselves in the characters and their problems, so the more believable the family is, the more we can draw the audience in.
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Part of the success of the show is that the audience sees themselves in the characters, becomes the characters. The more they inhabit the characters, the more they see
Part of the success of the show is that the audience sees themselves in the characters, becomes the characters. The more they inhabit the characters, the more they see.
The ones I love most are the people who the flaws show. I like doing characters that we see the total person. If people get afraid to show the flaws because they think, "Oh, then nobody will like them," then you end up with a lot of products, and everybody wants to be frigging heroic all the time - not what people are trapped in every day, like your skirt being in your panties after you walk out of the bathroom. Being human. Sometimes when people are drawn to your work, they're drawn because they recognize themselves or their loved ones or their neighbor in it.
What's most important is to create an atmosphere that's real, providing characters the audience can root for. Once they become emotionally attached, that's the secret in building a show. The audience can see themselves in these characters, and they respond to the stories.
I believe that if the story is fleshed out and the characters more believable, the reader is more likely to take the journey with them. In addition, the plot can be more complex. My characters are very real to me, and I want each of my characters to be different.
Its a consequence of the experience of science. As you learn more and more about the universe, you find you can understand more and more without any reference to supernatural intervention, so you lose interest in that possibility. Most scientists I know dont care enough about religion even to call themselves atheists. And that, I think, is one of the great things about science-that it has made it possible for people not to be religious.
I think comedy because of the Internet it has a bigger audience, a bigger fan base. It has fans that understand comedy more than any generation before because there is more guys like you, more guys like me, more guys like Louie CK who talks about it a lot. When you get a chance to see perspective that I don't think you ever got to see before.
It happens all the time! People are always talking about that explosive moment in their family history that sort of changed everything and rattled the cage, and more times than not it has nothing to do with trans issues. That's why people are relating to the show Transparent, because our family is their family and they understand that dynamic.
I think that comes with a collaboration with the writers. I think that we get cast in edgier roles because we are a little more offbeat, so people - as we get to know the writers, and as the writers get to know us, they start to write around us more, and that's why I think the pilot is not always the best way to get to experience a new television show, because we're fitting ourselves into these characters. Whereas as the show evolves, they're writing the characters for us and for our strengths and weaknesses.
In a family, you take on each other's problems and joys differently, and more intensely. The amplitude - and the undulation of the family - is different from the people you just generally bump into on the street, because you're chained together. And what happens if you break that chain? In almost every family that I know, someone has escaped, set themselves free, tried to run away - whatever what you want to call it. And often, they are made more conspicuous by their absence.
Most of my characters are an amalgamation of people that I've met, my family, or myself. Being a writer, you can draw only from what you know. I am lucky to have really rich and interesting people in my family for, you know, interesting family nights and great characters.
One of the great things about the longer you do a character, the more the writers start to understand your kind of character ticks and things that you like to do. The most exciting thing I think for a writer is when the characters just start speaking for themselves. You sit down at your keyboard and just stuff starts jumping out of their mouths. They just sort of wrote the scripts for themselves.
But obviously, things have changed in many ways since the '50s, when the show is started, in terms of sexuality, and how much access we have to images of it and information about it. But, the same problems always apply. It doesn't matter whether we know a lot more about sex now or if there's a lot more access to it. The same problems of intimacy, of dealing with other people, of connecting and being vulnerable with other people, which is what the show is ultimately about, still applies now, I think.
'Longmire' is more of a show about the characters, and you couldn't pay a bigger compliment than to want to know more about my character, or the characters on the show.
. . . I felt that making her one-dimensional would be an insult to the audience, and also not as interesting. All destructive people have an inner side to them, and the more three-dimentional your characters are on screen the more compassion you can open up in an audience . . .. To me, that involves the audience more, it stimulates them and asks more of them.
One of the things I've found really interesting about the show is that a lot of people really relate to our animal characters, more than we thought they would. Part of that is, because they are animals, people project themselves onto them. If BoJack just looks like Will Arnett, people go, "Oh, I know who that guy is. That's a Will Arnett type." But because he's a horse, people can go, "Oh, I'm kind of like him in some ways."
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