A Quote by Sean Murray
Over time, the lines blur sometimes. A little of you comes into the character.
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I feel like you have to pull from some personal experiences [to acting]. At least that's how I work sometimes. It's just easier that way. And I try it as best as I can and kind of dissolve myself and become a character, not me, or just blur the lines.
I don't write as much now as I used to, but I write. The lines still come, maybe periodically, and I'll go through these little bursts of time where I write a lot of things then a long period of time where maybe I don't write anything. Or these lines will come into my head and I'll write 'em down in a little book, just little sets of lines, but I won't try to make stories or poems out of them. I'm doing a lot of that now, just the lines.
There is nothing like being able to develop a three-dimensional character over a long period of time. Sometimes you aren't able to fully portray a character because you only have a couple of scenes to do it in, and you don't get the full life and background of that character.
I came from stage in high school, and on stage you kind of overdo with putting on a character a little bit. Sometimes you become a character and sometimes the character becomes you.
Comic-strip artists generally have very modest ambitions. Day to day, we labor to fit together all these little moving parts - a character or two, a few lines of dialogue, framing, pacing, payoff - but we certainly don't think of them adding up over time to some larger portrait of our times.
There are so many ways to approach a character. You have to figure out the similarities between you and the character, build on them, and at the same time, blur the dissimilarities. Since you do it day in and day out, it becomes a process and a part of you.
Does character develop over time? In novels, of course it does: otherwise there wouldn't be much of a story. But in life? I sometimes wonder. Our attitudes and opinions change, we develop new habits and eccentricities; but that's something different, more like decoration. Perhaps character resembles intelligence, except that character peaks a little later: between twenty and thirty, say. And after that, we're just stuck with what we've got. We're on our own. If so, that would explain a lot of lives, wouldn't it? And also - if this isn't too grand a word - our tragedy.
I love actors. I enjoy their company, and I get excited each and every time they bring a character I've written to life. Every so often a talented actor doesn't hook in correctly to a character; or someone gets lost in a labyrinth of over-complicated thoughts, and the character and play suffer. However, most of the time I find actors either end up doing exactly what was in my head, or sometimes do something even better.
Los Angeles has no seasons, so it's kind of hard to keep track of time here. The lines between spring, summer, fall, and winter all blur like my vision. I get stuck on repeat for different measures of eternity.
I blur things to make everything equally important and equally unimportant. I blur things so that they do not look artistic or craftsmanlike but technological, smooth and perfect. I blur things to make all the parts a closer fit. Perhaps I also blur out the excess of unimportant information.
When a film is good, the lines between single-screen and multiplex blur.
I'll write lines or words in a notepad. You work on little things and little parts; sometimes they turn into bigger songs.
I'm giving into my tendency to want to blur and blend the lines between art and life, and privacy and sharing.
Time is just a blur for me. I don't know what - I don't even know where I am sometimes.
Have you ever watched the jet cars race on the boulevard?...I sometimes think drivers don’t know what grass is, or flowers, because they never see them slowly...If you showed a driver a green blur, Oh yes! He'd say, that’s grass! A pink blur! That’s a rose garden! White blurs are houses. Brown blurs are cows.
What's the Future? It's a blank sheet of paper, and we draw lines on it, but sometimes our hand is held, and the lines we draw aren't the lines we wanted.
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