A Quote by Yvonne Strahovski

It's often the death of the show when you break the tension and the two lead characters get together. — © Yvonne Strahovski
It's often the death of the show when you break the tension and the two lead characters get together.
I think it gets really dangerous, though, to do it on the show. I think that the writers and producers are very much aware of that and the dangers of putting characters together and what that can mean for the show. You know, it's possible it could kill the thing that holds the show together, the chemistry, sexual tension between the two characters.
Nobody knew if the pilot would even get picked up because it had two gay lead characters, which has never happened before. And now every show has at least two gay characters, if not many more.
I'm surrounded by a lot of live-action movie professionals, and I'm just taking their lead, as far as what to schedule to do next. I'm guessing the challenge is going to be not having two characters together, and shooting the live-action without having the animation. In animation, you get to get in between every frame and you work it all out together.
Death is not earnest in the same way the eternal is. To the earnestness of death belongs precisely that remarkable capacity for awakening, that resonance of a profound mockery which, detached from the thought of the eternal, is an empty and often brash jest, but together with the thought of the eternal is just what it should be, utterly different from the insipid solemness which least of all captures and holds a thought with tension like that of death.
The 'Moonlighting' tension of the couple that obviously never can get together, there's an innate sort of fun and tension in that.
Many writers struggle with exposition in their novels. Often they heap it on in large chunks of straight narrative. Back story – what happens before the novel opens – is especially troublesome. How can we give the essentials and avoid a mere information drop? Use dialogue. First, create a tension-filled scene, usually between two characters. Get them arguing, confronting each other. Then you can have the information appear in the natural course of things.
One of the things that I like about 'Narcos' is that not only Pablo but with all the characters - this is not a black and white show. This is not a regular American cop show where two cool cops go to save a country from a bad guy. All the characters are very complex.
What's actually amazing is that, after a couple of years of living with characters and writing characters and talking about characters, as we sit in the writers room and break episodes, it strikes you, every once in awhile, that you're talking about a character that's played by the same actor, who you've been talking about forever. We talk about a character dying, so you get emotional, and then you realize, "Oh, but wait, that actor is still on the show."
Temperament and tightness often go together. But if you're tight, you can't sing. So I have to have that tension in my body but not in my voice.
I've seen new actresses do one show and disappear or struggle for years to get their next break. I've been fortunate enough to have four shows back-to-back as lead.
It might be useful to be able to predict war. But tension does not necessarily lead to war, but often to peace and to denouement.
Often, female characters are quite one dimensional, especially in a two hour film; television gives characters room to breathe and develop.
A lot of times I think the cast members, the lead characters in a show really set the tone for the show. On some shows, the stars of the show will just be whining and complaining and spending the whole time texting their boyfriends on their Blackberries, and there's just no attention given to the work.
When two characters or two actresses are together for a while there is bound to be chemistry developing.
The most interesting characters are those you're drawn to, then repelled by, and then come to understand. All that tension - I live that. But I don't plan the tension. It's just something that should happen.
I constantly have anxiety about being the lead of the show. I don't talk about it because it scares me. But I've always wanted to be part of something where I could work on a character in such a big manner, and you get offered that with all the trappings of being the lead of the show.
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