A Quote by Stewart O'Nan
When I'm writing, I try to have the mask of my character on as I'm walking through the world. When I'm not at my desk, the rest of the time, I try to stay in that character and see the world the way that character would It's almost like method acting in a way — keeping the character close the way the actor keeps a script close and always tries to be in character.
Related Quotes
I believe in method acting. Whenever I'm working on a character, I start behaving like him. I start doing these things which the character would normally do. Maybe that's the way I function as an actor, and I believe in it. And that's how I try and portray a character.
Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.
When I'm writing, I try to have the mask of my character on as I'm walking through the world.
As an actor, I come to set, and I have already broken the character down by writing a poem about the character. I try to write in his voice, the way he would write it.
We have a writing process that's very much you try to create the character in a complicated way and then you let the story lead you to discovering who the character is in a natural way.
I think every time you take a female character, a black character, a Hispanic character, a gay character, and make that the point of the character, you are minimalizing the character.
When I'm writing from a character's viewpoint, in essence I become that character; I share their thoughts, I see the world through their eyes and try to feel everything they feel.
I’d like to be the kind of actor who is remembered for my character. You know how there are cases where even when you watch all the way through the end of a drama, you remember the actor’s name, not the character’s. I want my character’s name to be more remembered than mine.
I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.
It's nice to play a character that has a soulful, dependent, close relationship. It must mean my character is interesting in some way.
If you think of even Tolstoy or a book like 'Anna Karenina,' you go from character to character, and each section is from the third person perspective of a different character, so you get to see the whole world a little more kaleidoscopically that way. That's traditional narrative manner, and I haven't done a book like that before, but I enjoyed it.
As a writer, you have to put yourself in service to the character, get behind their eyes by delineating the world where the character develops. You have to listen to the character and see him inside his certain world to know what conclusions he would draw.
All I try to do is as earnestly and as acutely as I can, conceive a character and try to portray this character just honestly. If the humor is within the absurdity and the awfulness of situations, then let it be seen that way.
I always tend to see, right after reading the script, the character and how I want to play it. I guess that's sort of most of the work, preparing for the role, but almost the creation of the character seems to go on as I read through the script.
What is the character trying to say? Why? Be as specific as you can, using sense images that evoke something about the character. Try using the character's senses, even if the character is you.
If I'm a character, it's a biographical movie. My character is as close to me as possible. As close to being myself as possible. So my character, J. Cole, is very close to Jermaine Cole.
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