A Quote by Tridha Choudhury
What's important is how the character drives the narrative.
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In order for a narrative to work, the primary character should have a concrete desire - a need that drives her story - and the story's writer should make this goal known to the reader pretty early in the narrative.
I just focus on my character and how pivotal it is to the narrative. I don't mind even a 10-minute role, if it's important to the script.
Things have character. So I'm interested in how the character of the thing might function as a protagonist in what isn't a narrative.
Some like to start from the inside and then go to the outside. I'm the other type of actor. First, I have to know how my character looks, how he walks, how he drives, how he eats.
I think that the most important thing for me is how is the character that I would be reading for? Is it interesting? Is there stuff to do? Are there things that you can do with the character? How can you play it out? Just those kinds of things that are very important for an actor.
What I'm really proud of Beyonce and Solange, they understand the importance of creating the narrative. It's all about the narrative and how you position yourself with your narrative.
Stage is so important because it teaches me how to convey character with words - how to convey how a character reacts by the way they appear on stage. I can usually tell a playwright from someone who has never written for the stage. Did the character work? Did the dialogue reveal who the character is?
Narrative drives most of economics. Everything seems to be part of a story, and how that story is told often leads to critical error.
Character drives the story, and the story drives the book. I don't think about where the action should go, or how much there should be, until it's required by the characters. When I find myself adding conflict just because I'm afraid that the reader might get bored, I know I've taken a wrong turn somewhere.
If you're a certain type of actor, then eventually stepping into a director's shoes is a natural transition. I've always been the actor who's very focused on the narrative, where my character is in the story, and how I can benefit the story. I've always had a technical aspect of what the lens is, how the camera is going to move, how I can feed the information the director applies within that move. If you're that type of actor, narrative-based, technically proficient, the next step is actually not that far.
I think that the most important thing for me is, how is the character that I would be reading for? Is it interesting? Is there stuff to do? Are there things that you can do with the character? How can you play it out? Just those kinds of things that are very important for an actor. Also, a good director and good dialogue.
Children, I mean, think of your own childhood, how important the bedtime story was. How important these imaginary experiences were for you. They helped shape reality, and I think human beings wouldn't be human without narrative fiction.
The narrative constructs the identity of the character, what can be called his or her narrative identity, in constructing that of the story told. It is the identity of the story that makes the identity of the character.
I essay a negative or a positive character depending on whether it's a principle role and how much it drives the movie.
I always tend to think, even in residential projects, about what a space is being asked to do - where is it located, what are the circumstances, where can I attack the problem, so to speak. How can you create a narrative for people moving through it? How can you convey its character?
We all have an ongoing narrative inside our heads, the narrative that is spoken aloud if a friend asks a question. That narrative feels deeply natural to me. We also hang on to scraps of dialogue. Our memories don’t usually serve us up whole scenes complete with dialogue. So I suppose I’m saying that I like to work from what a character is likely to remember, from a more interior place.
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