A Quote by Peter Matthiessen
I like to hear and smell the countryside, the land that my characters inhabit. I don’t want these characters to step off the page, I want them to step out of the landscape.
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Writers write because they cannot allow the characters that inhabit them to suffocate them. These characters want to get out, to breathe fresh air and partake of the wine of friendship; were they to remain locked in, they would forcibly break down the walls. It is they who force the writer to tell their stories.
I want to travel on a train that smells like snowflakes. I want to sip in cafes that smell like comets. Under the pressure of my step, I want the streets to emit the precise odor of a diamond necklace. I want the newspapers I read to smell like the violins left in pawnshops by weeping hobos on Christmas Eve. I want to carry luggage that reeks of the neurons in Einstein's brain. I want a city's gases to smell like the golden belly hairs of the gods. And when I gaze at a televised picture of the moon, I want to detect, from a distance of 239,000 miles, the aroma of fresh mozzarella.
Choosing a director is like choosing a therapist - you want somebody who is going to be a step or two ahead of you, who can interpret and articulate your intentions better than you can, with the benefit of objectivity. I look for a collaborator who is going to help bring to life, on stage, in three dimensions, what is on the page. I wouldn't want a director who imposes conceits or distrusts the text or who has prejudged the characters.
If you get the landscape right, the characters will step out of it, and they'll be in the right place.
I tend to be collaborative, and I want to hear other people's ideas. Especially with actors, I want them to feel like they can breathe life into their characters.
As the new work fills my notebooks, I've come to realize that the characters in my stories were so real because I really did want to get close to people, I really did want to know them. It was just easier to do it on paper, one step removed.
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.
Usually, I like to play sophisticated-looking characters. I want to do 'Godfather'-like characters. Given my voice and style, such characters will be apt for me.
I want to have compassion for my characters - I feel like I am the characters when I'm writing them.
When I'm creating characters, I just want to create characters that I can relate to, and be as honest about them as people as I can be. That's what I want to see when I go to the movies.
All that matters to me as a reader are characters. I want characters to be real, authentic, and rounded. I will be digging into characters for at least a month. Who they are. What they are like. Outside of the story.
Of all the pitfalls in our paths and the tremendous delays and wanderings off the track, I want to say that they are not what they seem to be. I want to say that all that seems like fantastic mistakes are not mistakes, all that seems like error
is not error; and it all has to be done. That which seems like a false step is the next step.
I never start anything 'I want to be No. 1. I want to win Grand Slam.' For me, no. It's always step by step. The only thing I want to do, it's to push the limit.
I'd like to work more, but I don't just want to do kind of generic characters. I want to do interesting characters, and I'd like to be cast against type.
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
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