A Quote by Adam Haslett
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.
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Honestly, when you're writing you try to stay on the story, on the character's mind, trying to throw stuff at them. There is danger, and the scares have to kick in the right places with the drama. And you try not to do too much to try to create those moments. Those moments create themselves.
The first time you see the film it takes you right back to those times and those moments. It's very difficult to be objective about the work because you really have to remove yourself and see it a couple of times before you can really involve yourself in the story.
You see if you tell yourself the same tale over and over again enough times then the tellings become separate stories and you will generally fool yourself into forgetting you started with one solitary season out of your life.
You get to know a character that you play on-stage in a pretty profound way over a length of time. I don't want to sound highfalutin and say you become the character, you just start bringing more and more of yourself to the part until the character and actor, it's hard to tell them apart. It's some weird amalgam. In film, because of the period of time, I don't know that you ever get that deep into it.
You must create the character's internal life. What do I mean by internal life? I mean the thoughts, feelings, memories, and inner decisions that may not be spoken. When we look into the eyes of actors giving fully realized performances, we can see them thinking. We're interested in what they're experiencing that may never be spoken, that quality of nonverbal expression - which is as much a part of the characters as breathing and as real as what they say and do. This is their internal life. It helps us believe in the characters and care about them.
If you're really being honest with yourself when you're acting, part of it is touching the real you. You can only separate yourself so much from the character. Those vulnerable moments do touch me.
Pause and remember - Stop mentally abusing yourself. Stop agonizing over your past mistakes and worrying about the future. Life is hard enough without the added fear, panic and anxiety. Your soul is crying out for love and encouragement. Take a moment to breathe deep, get present and find some compassion for yourself. Then, go out and treat yourself right; pamper yourself and take care of your needs. You are worth it!
All my main characters are people I'd love to sit around having coffee with. They are people who will tell you honestly about the things that scare them and worry them and trouble them. Because those moments of connection between women-when they really decide to be honest with each other about their lives-are some of the best things in life.
Let somebody insult you and see that that you do not answer back. Just see it, not to get into temper. Try that your ego doesn't react. That can be achieved very easily if you try in the mirror, look at yourself and laugh at yourself, make fun of yourself.
I watch these actors who when you go to buy a pint of milk you see them smiling on the cover of 20 magazines. Then when you see them in a film it's hard to believe the character because you just see them everywhere.
I watch these actors who when you go to buy a pint of milk you see them smiling on the cover of 20 magazines. Then when you see them in a film it's hard to believe the character because you just see them everywhere
I care very much about all of my characters, recurring or not. I try to imagine something about that person beyond his or her physical appearance. After creating them, part of my job is to inhabit them and try to see their world from their perspective.
I think all of us, under certain circumstances, could be capable of some very despicable acts. And that's why, over the years, in my movies I've had characters who didn't care what people thought about them. We try to be as true to them as possible and maybe see part of ourselves in there that we may not like.
(UGO, about Crank) I see the addiction to video games because you want to win them and it's just hard enough so you'd want to keep playing it over and over to try to figure it out. I definitely feel the movie is like a game at times but I'm not a huge videogame lover.
We have to create conditions where people feel safe to feel and to care. That goes against a lot of our programming about how to make something change in the world. Sometimes you can pressure people into changing, you can force them, but the powers-that-be have more force than we do. I don't think we're going to win in a contest of force. I think we need to induce a change of heart. The narrative of "us versus them" is ultimately part of the problem. Traditional activism, which is about overcoming the latest bad guy, isn't deep enough. It just brings us another version of the same.
I do believe that characters in novels belong to their writers and their readers pretty equally. I've learned a lot of things about the characters I write from people who read about them. Readers expand them in ways I don't think of and take them to places I can't go.
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