A Quote by Yasmine Hamdan
When I imagine feminine characters in my songs, they're often bold, strong, passionate, militant, witty, sensual, dangerous. I see those characters as skillful witnesses, figures of change and awakening.
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I can't imagine writing a book without some strong female characters, unless that was a demand of the setting. I actually tend to suspect that in real life, there have always been very strong female characters, but at certain stages of society, they've been asked to cool it.
In a play, a few actors perform a few characters, and they need to perform those characters with a certain level of believability so that audiences can actually understand and see them as those characters.
If you look at that incredible burst of fantastic characters that emerged in the late 19th century/early 20th century, you can see so many of the fears and hopes of those times embedded in those characters. Even in throwaway bits of contemporary culture you can often find some penetrating insights into the real world around us.
When writers are self-conscious about themselves as writers they often keep a great distance from their characters, sounding as if they were writing encyclopedia entries instead of stories. Their hesitancy about physical and psychological intimacy can be a barrier to vital fiction. Conversely, a narration that makes readers hear the characters' heavy breathing and smell their emotional anguish diminishes distance. Readers feel so close to the characters that, for those magical moments, they become those characters.
I'm portraying out characters, I'm portraying femme characters, characters that are really outside of the box. I never thought I would get that opportunity to portray those characters at all, much less have a career that I have.
I like complex characters. I've been very, very lucky to portray, in these past three years, characters that are strong and fragile at the same time. It's those characters that I'm looking for. In the last year and half I played three different religions, and that allowed me to educate myself so much.
As we grow older, we should learn that these are two quite different things. Character is something you forge for yourself; temperament is something you are born with and can only slightly modify. Some people have easy temperaments and weak characters; others have difficult temperaments and strong characters. We are all prone to confuse the two in assessing people we associate with. Those with easy temperaments and weak characters are more likable than admirable; those with difficult temperaments and strong characters are more admirable than likable.
I start with an idea or a problem or a conflict, or even a situation that might be pertinent to the lives of young people, then the characters grow from that point. I try to make strong characters that change and develop and learn from their mistakes.
The writer must always leave room for the characters to grow and change. If you move your characters from plot point to plot point, like painting by the numbers, they often remain stick figures. They will never take on a life of their own. The most exciting thing is when you find a character doing something surprising or unplanned. Like a character saying to me: ‘Hey, Richard, you may think I work for you, but I don’t. I’m my own person.’
I would love for people to think that I am as quick, clever, smart and heroic as the characters that I write, but those characters are characters.
I think there's grays in characters if you look at all the great characters, those characters that have those layers of being good and being bad and what's the struggle. It's always more interesting to watch.
Every filmmaker has his own vision, and when they write a film or characters, they see certain people in those characters.
I don't try and write strong female characters or strong male characters, I just try and write, hopefully, strong characters and sometimes they happen to be female.
When people come to see my stand-up, they get a chance to see my characters interact with each other. I enjoy pushing my characters to the limit. No matter how far out there I go, I look for things that make the characters human.
When you create those characters that people love and care about and put them in a dark hallway, already the audience is on edge, and they feel empathy for that character. Then it's up to me to decide what jumps out in that hallway. So I think laying that foundation of strong characters and strong story is the most important thing in a horror film.
I mean when I was working shall we say with Disney, you know they sent me the script for the film Hercules and I had to imagine what all the characters looked like. And to develop those characters, so nothing exists visually when I get the script.
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