Any character that you come up with or create is a piece of you. You're putting yourself into that character, but there's the guise of the character. So there's a certain amount of safety in the character, where you feel more safe being the character than you do being just you
Real religion is about, developing real character; character of compassion, character of humility, the character of determination to grow in all circumstances.
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.
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.
One of the ways that you reveal character is by getting a character into a situation and seeing what they do.
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?
Every character needs an adversary - one who is both challenging and a contrast for the hero. The best adversaries reveal something about the character they're contrasting.
When you create a character, you create it for yourself - you do whatever you want. It's your job to explore it in as many different avenues as you can in order to make it a fully wounded character.
Now, being a POW certainly doesn't qualify anyone to be president. But it does reveal character. This is the kind of character that civilizations from the beginning of history have sought in their leaders.
I like to create a character where you believe, deep down, that they don't really care if they live or die. That's very liberating for the character because, if the character is prepared to die, then they can do anything. It's impossible to stop them.
It's relatively easy to create an ambiguous character. Any conglomeration of likable and unlikeable traits, chosen at random, will result in an ambiguous character. Getting an audience to deeply identify with a character, on the other hand, is one of the hardest things in the world to do.
I was hesitant to do 'Mulan II.' For me, I felt like the story that needed to be told, this legendary character of Mulan, was already encompassed in the first movie, and I was worried they would try to create this crazy cartoon character out of this legendary character of China.
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.
I don't know what the character is going to be. We sit down and we create a character, and all of the characters in all of my films are made like that.
Flaws reveal a lot about a character and who people are. The flawed elements of a character are where I find their humanity. Those are the things I tend to identify with - the weaknesses. I don't know why, but I identify with struggle more than with success.
You can reveal yourself on stage in a way that you can't on TV. If you drop a character on TV, it's death. Each character has to be ruthlessly, faultlessly played. But live, you can hint at what's going on behind. You can let the audience in a bit and go off the script.