A Quote by Seo In-guk

For the kiss scene to be beautiful, there has to have been a backstory between the characters. — © Seo In-guk
For the kiss scene to be beautiful, there has to have been a backstory between the characters.
How it works for me is that a scene comes to mind, usually a scene between the hero and heroine, that depicts the emotional conflict. From that scene, the characters come alive for me. I don't do a lot of preplanning in any way when I write.
I'm fortunate in that I'm what you call a utility player, in that I can take a scene, if there's five or six minor characters in a scene, that need voice and personality [and] I can supply those characters.
I have always wanted to do a feature film that brings the world of Lisa Frank to life. We have so much backstory on our characters, and they have been alive in my imagination since the beginning.
If I want to kiss, I shall kiss. If I am told that a lovemaking scene is integral to the script, I will consider it.
This was the kiss I had waited for so long - a kiss born by the river of our childhood, when we didn't yet know what love meant. A kiss that had been suspended in the air as we grew, that had traveled in the world in the sovenier of a medal, and that had remained hidden behind piles of books. A kiss that had been lost and now was found. In the moment of that kiss were years of searching, disillusionment and impossible dreams.
So, when kiss Spring comes we'll kiss each kiss other on kiss the kiss lips because tic clocks tock don't make a toctic difference to kisskiss you and to kiss me.
I thank Henry James for the scene in the hotel room, that I stole from Portrait Of A Lady… This particular scene is the most beautiful scene ever written.
The king lifted a hand to her cheek and kissed her. It was not a kiss between strangers, not even a kiss between a bride and groom. It was a kiss between a man and his wife, and when it was over, the king closed his eyes and rested his forehead in the hollow of the queen's shoulder, like a man seeking respite, like a man reaching home at the end of the day.
When you're a regular on a TV show, they give you more of a backstory, so with these recurring gigs, you have to make up your own backstory.
Some early writing say that when people kiss, they exchange the soul, that it's between their mouths and tongues that the soul is exchanged. And so the kiss is more of a soulful connection maybe than intercourse and other ways of being together. A kiss asks a lot from you. I think it asks a lot from a person to really kiss.
Having read the source material, I had to have drawn from that. As a fan, I wanted to remain true to that character, but it was really cool because, as we were figuring these characters out, I realized that there was a lot more backstory, rather than what I had gotten just from reading the book. Glenn doesn't really get much of a backstory there. He's just seen as this kid who is put in this situation, not knowing where his mind-set is, but then you slowly see him start to develop.
I really like the Chris-R scene and of course the "you are tearing me apart Lisa" scene. The reason I love the Chris-R scene is because we worked really hard to finish it. It's not just that though, it brings people together. Everyone is one the roof together by the end of the scene. You see the perspectives of the different characters. I feel like with all the connections in this scene that the room connects the entire world
For me, as an actor, the most challenging thing is creating the character in the beginning because you have to write their backstory. The easy part about doing a sequel is that you've done the film, so you already know their backstory.
I try to construct some kind of backstory for my character so that I have an idea of the life of that character - not just from the moment when the scene starts, but from before.
We kiss again. This next kiss is the kind that breaks open the sky. It steals my breath and gives it back. It shows me that every other kiss I've had in my life has been wrong.
When you're training as an actor, a lot of the big work you're learning is to treat fictional characters like real people. You don't have the problem of discovering a backstory with real people, but there's always a mystery which is common to both fictional and factual characters. They are never quite the person you think they are.
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