A Quote by Shea Whigham

It's always about the project itself than a character for me. It's all experiential. — © Shea Whigham
It's always about the project itself than a character for me. It's all experiential.
I always keep my options open. I always say, "Make me an offer and send me the script, and if it's something that I can connect to or relate to..." The character has to intrigue me, and the project overall has to intrigue me. And if it all lines up properly, then we can get into the business side of it. But it's always about the creative first.
I love to see how a character unfolds off the page in a project. I don't always know how the character is going to turn out, even with the script being there. It's not always clear where that character is going to take me. Or where I will take them.
If you go for an audition, you have a character description, and for the women, it's always about being beautiful, sexy. And for the men it's more about the character than how he appears physically. That annoys me.
I try to just be open to what the next experience is and how it makes me feel, just reading a project, or trying to get involved with a project, or thinking about a project, and what particular emotional flavor that brings. To me, it's never really about planning the next thing, or the career arc. It's about investigating how I feel, from project to project, and finding things that I haven't explored and what that would be like.
But in the years since the neoliberal project really has been stripped down to what was always its essence: not an economic project at all, but a political project, designed to devastate the imagination, and willing - with it's cumbersome securitization and insane military projects - to destroy the capitalist order itself if that's what it took to make it seem inevitable.
By the time a writer comes onto a project (if they're being hired as a contractor) the main character has usually been designed, as that's always done during a project's pitching stage.
To make our position clearer, we may formulate it in another way. Let us call a proposition which records an actual or possible observation an experiential proposition. Then we may say that it is the mark of a genuine factual proposition, not that it should be equivalent to an experiential proposition, or any finite number of experiential propositions, but simply that some experiential propositions can be deduced from it in conjunction with certain other premises without being deducible from those other premises alone.
I have always been a big fan of the character and am more of a moviegoer than a comic book guy, there is always something about the character of Batman that is very elemental. There is a great powerful myth to the character and romantic element that draws from a lot of literary sources
What gets yme excited about a project and character is the director, the script, who's involved in the movie, and the character. Those are pretty much the essentials. If it's something different, if it scares me, in a way, if it will stretch me or push me into certain places that I haven't been to, then I like that. If you're just trying to talk yourself into it, then it's probably not for you. It's hard to be selective.
I always look forward to the next project. That is one of the wonderful things about architecture - you always can hope for another project to design.
Responsive and responsible leaders in governments and businesses must act and collaborate to expedite change, implementing innovative, experiential, and project-based educational approaches.
Photography has always been about documentary, the depiction of the instant, a moment, sometimes a place. Each project is somehow an experimentation of a specific context or a character.
In '7th Heaven,' more than 'Teen Wolf,' was that I got to learn more about my character. In 'Teen Wolf,' I'd always get a new arc for that character every season, which was discovery for me.
It's always fun to be able to have a voice, because it helps me to stay in tune with the project and the people that I am working with. Ther's nothing worse than being on a project and not being able to have a voice. I don't like that.
I am uncomfortable talking about the things that I write. It seems unseemly to me. I have no problem at all when I see anybody else talking about the same project, but I feel my work should speak for itself.
For me, what grabs my attention about the project is usually the character immediately and then the story, and then the people that are involved.
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