A Quote by Ryan Reynolds
It's very tricky to throw a morally flexible character onto the screen and have an audience empathize. It's always an exercise in restraint.
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It's tough. It's very tricky to throw a morally flexible character onto the screen and have an audience empathize. It's always an exercise in restraint.
With any character, you want the audience to at least empathize.
If you have a character that seems to be all perfect, it's hard to relate to him because when you read a story you really want to empathize with the character that you are reading about. And it's hard to empathize with someone who is flawless and who has no problems.
I think when see you a character on the screen who is actually being touched by the world, and the stuff is actually landing on him, it makes you empathize.
I always want the audience to identify with my character in some way. I mean, sometimes you'll get characters that aren't very identifiable. Sometimes you can't relate to your character at all. I think it's important to keep the audience interested. But the best advice that I've gotten is to live in the moment.
At the same time the Muslims are commanded to exercise self-restraint as much as possible. Force
is a dangerous weapon. It may have to be used for self-defense or self-preservation, but we must
always remember that self-restraint is pleasing in the eyes of Allah. Even when we are fighting, it
should be for a principle not out of passion.
I love mythology and folklore, and I respect the time, money, and opportunity that a film gives to an audience. It's a chance to empathize, reflect, and learn, so I really want to understand before I sign onto a project: 'What's the potential of this thing? What are we seeing and learning? What are we empathizing to?'
I realise that certain actors project their own image onto the screen - those who are the same on as they are off. But I've never had the necessary statistics to be able to do that sort of thing, and so, anyway, I always wanted to be a character actor.
There is an inalienable law. Whenever a character on screen pities himself, the audience stops pitying him. They will cry so long as the character doesn't.
I prize the purity of his character as highly as I do that of hers. As a moral being, whatever it is morally wrong for her to do,it is morally wrong for him to do. The fallacious doctrine of male and female virtues has well nigh ruined all that is morally great and lovely in his character: he has been quite as deep a sufferer by it as woman, though mostly in different respects and by other processes.
Restraint never ruins one's health. What ruins it,is not restraint but outward suppression. A really self-restrained person grows every day from strength to strength and from peace to more peace. The very first step in self-restraint is the restraint of thoughts.
Basically, editing is done in rehearsal and in the writing process and in the acting, so it's very, very tricky, very, very tricky.
People can hide behind a screen. No one is going to do it at a match, in front of you, like throw a banana at a black player or something. They are very happy hiding behind a screen and being comfortable.
Understand and apply this vital principle to your life: Your exercise of faith builds character. Fortified character expands your capacity to exercise greater faith. Thus, your confidence in making correct decisions is enhanced. And the strengthening cycle continues. The more your character is fortified, the more enabled you are to exercise the power of faith for yet stronger character.
I've always been very strong minded on character-based fights and character-based action. If you take the character out of the action and you just shoot it as an action sequence, the audience starts to lose connection.
I always want the audience to identify with my character in some way. I mean, sometimes you'll get characters that aren't very identifiable. Sometimes you can't relate to your character at all.
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