A Quote by Sean Murray
I think any time you put a new character inside a wall of characters you have pre-existing, you can have some fun with that.
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I live intimately with my characters before starting a book. I cut out pictures of them for my wall. I do time lines for each major character and a time line for the entire novel: What is going on in the world as my characters struggle with their problems?
I think I live inside the plane! I never have time to unpack; I'm always leaving in two days again. I travel a lot, and at the beginning it was really fun. The first time I went inside a plane, I was 15 years old and I had so much fun. I like to travel all over the world and learn [about] new cultures. Not that many people have the opportunity to do that.
When you work on a pre-existing character, when you end up getting invited to be part of a legacy character like Superman, I don't feel like it would be true to the character if all I did was go in looking to express my own voice.
People out there with pre-existing conditions, they are worried. Are they going to have the guarantee of coverage if they have a pre-existing condition or if they live in a state where the governor decides that's not a part of the health care, or that the prices are going to go up? That's the worry.
President Trump has said he will not sign a bill which does not protect those with pre-existing conditions. I'm a physician who worked in a public hospital for 25 years caring for those with pre-existing conditions.
I kind of cheer the presence of any gay characters at all - I think the more we can saturate television with any gay character or lesbian character or transgender character, I think that's a really great thing. We're kind of getting past the fact that they're the punchline or that they're the novelty.
I think if you play characters, it's very important not to ever tag them with any sort of disorder, or diagnose them, or whatever. You have to normalize the behavior to get inside the character.
I like playing characters that are true to life, and there's no guarantee that any of us are going to be okay, but we intend to be, and we take the time to try to be. I don't think it's any different for a character.
It is fun, revisiting a role. Usually, as an actor, you do a movie and you put that character up on a shelf, and he's done. That character is now immortalized on film, but you don't get to play him again. In these films [Twilight saga], we got to revisit these characters, and we didn't take that for granted.
I think at some level, it's just alchemy that we, as writers, can't explain when we write the characters. I don't set out to create the characters - they're not, to me, collections of quirks that I can put together. I discover the characters, instead. I usually go through a standard set of interview questions with the character in the beginning and ask the vital stuff: What's important to you? What do you love? Hate? Fear? .. and then I know where to start. But the characters just grow on their own, at a certain point. And start surprising me.
The phenomenological world is not the bringing to explicit expression of a pre-existing being, but the laying down of being. Philosophy is not the reflection of a pre-existing truth, but, like art, the act of bringing truth into being.
It's fun to play characters with a past, but it's also fun to play any role that is what I would call a 'pressure cooker' kind of character, where the lid is on, and it's left to simmer throughout the movie.
So, when I saw Congressman Bishop smiling at the White House after voting to gut protections for pre-existing conditions, something inside me broke.
I know nothing. I know no one. I’m lonely. Every time I see you, you’ve put up some new wall, and you never let me in.
I actually take images of things and put them up around the wall and in a room. I set a room aside. It might be colors, it might be animals, or energy and words. And I'll just leave it there, so it begins to work on my subconscious when I think about the character. Which gives me some latitude to be really flexible and spontaneous but within the context of the character and the world of the character without having to think about it. Or I'll look at something or read something and let it work on my subconscious mind.
I think any writer is a fool if he doesn't do it for money. There needs to be some kind of incentive in addition to the project. It all goes together. It's fun to sit there and think of characters and get them into action, then be paid for it.
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