A Quote by Tess Gerritsen
There is no better test of character than when you're tossed into crisis. That's when we see one's true colors shine through. So I try my best to make my characters personally involved in the plot, in a way that stresses them and tests them.
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And I'll see your true colors shining through I see your true colors and that's why I love you so don't be afraid to let them show your true colors, true colors are beautiful like a RAINBOW.
You try to make them comfortable so they can do what they're best at, and make them shine. You always want to make an actor shine. I'm of the mind that there's no one - you, your mother, anyone, that if in the right place at the right time in the right context, couldn't shine in a movie. And so if it means, "Oh, I have to make them uncomfortable," then whatever it takes to get what I need up onscreen. It's all in the service of the story.
The characters are the plot. What they do and say and the things that happen to them are, in a sense, what the plot is. You can't take character and plot apart from each other, really.
The true test of a character is to face hard conditions with the determination to make them better.
I have not seen that standardised tests make the profession less attractive, though some principals respond to them in a way that drives the best teachers out of their schools (by over-emphasising test prep in the school curriculum for example). On the other hand, great teachers want benchmarks to measure progress and tests can help with that.
Every time I see a child walking down the street I like to trip them. While they look for their missing teeth, I personally remind them that no matter how hard they try I will always be better than them.
I have always liked kind of outsider characters. In the movies I grew up liking, you had more complicated characters. I don't mean that in a way that makes us better or anything. I just seem to like characters who don't really fit into. You always hear that from the studio: "You have to be able to root for them, they have to be likeable, and the audience has to be able to see themselves in the characters." I feel that's not necessarily true. As long as the character has some type of goal or outlook on the world, or perspective, you can follow that story.
Whatever colors you have in your mind, I'll show them to you and you'll see them shine.
I don't think I ever relinquish a person I have known, and surely not my fictional characters. I see them, I hear them, with a clarity that I would call hallucinatory if hallucination didn't mean something else ... A character whom we create can never die, any more than a friend can die ... Through [my characters] I've lived many parallel lives.
I find the best way to make things real is to just put two characters into a space and let them talk to each other in the way that they would talk to each other, and then see what they would say. I know it sounds weird, but that leads the plot and takes you in another direction.
My books are primarily plot driven but the best plot in the world is useless if you don't populate them with characters that readers can care about.
You have to expose part of yourself to create a character deep enough for readers to care about. You try not to because it's hard and at times shameful, but then when you read those pages over and you see they have no life to them so you throw them away and force yourself to be more honest. So I suppose the answer is I see myself in all my characters, in their best moments and in their worst.
I take them seriously but I try not to read them. I take them personally, that's why I don't read them. I think people are lying when they say they don't care, that's not true. I take them personally.
The supporting characters typically carry less story/plot weight - so you can be more broad and pushed with them. Supporting characters also take up less of the film's screen time. A short is a great opportunity for supporting characters to shine.
Sometimes, when actors reach out to their characters, they're nowhere in sight. They need to find something inside of them. And then the characters are right there. As a director, I want them to find the character that's already inside them, instead of trying to manufacture or manipulate or make something up. That's not really honest or true.
There's no better way to test a person than to put them in the middle of a war. That's clearly going to show what kind of a character you're telling a story about.
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