A Quote by Ving Rhames
A lot of times, scripts are written so the character is all one way. Even with 'Bringing Out the Dead,' the character was written a little more generic.
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I feel like the scripts were so wonderfully written in the sense that my character in '1666' and my character in '1994' mirrored each other in a really nice way. They're both so strong, empowered, determined, and passionate.
I abhor badly-written characters and any character, be it man, woman, any character in the film. If it is a well-written character, it will come across as strong.
The costume that I wear on the show is a little snug and doesn't leave a whole lot to the imagination. I don't have a problem with it because of the way this character's been written.
I should have asked for credit - but he has no idea how amazing it is that a character that was written as a boy can be equally written for a girl. It's like you said, just write a character as if it were a man, and then turn it and make it into a woman. It's like, we're human beings, after all.
You can read a character that feels amazing, but if the world around it and all the writing around it - even the way the stage descriptions are written - don't feel just right, then you know there's no point in doing the project. No character is ever bigger than the whole film.
There's nothing more liberating about starting with something that is not written. You pretty much create the history of that character and that character's life story.
You start out with scripts pre-written, with no specific actor in mind, so you've got to build a character on top of that foundation. It's not just lifting words off the page, it's constructing a history around them as well.
And that's what the audience was feeling too, as they watched the show and as they watch it now. And overriding all of that is the way it was written. It was written honestly. There was never any manufactured laugh. There was never compromising of character.
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?
There have been times I thought that when I got a certain point in the story, a certain character was going to do a certain thing, only to get to that point and have the character make clear that he or she doesn't want to do that at all. That long phone conversation I thought the character was going to have? He hangs up the phone before the other person answers, and twenty pages of dialog I had half written in my head go out the window.
You try to get to know your character as best as you can before you start filming - what's written and not written.
You try to get to know your character as best as you can before you start filming - whats written and not written.
If your character is written well and is meaty enough, even two scenes has the potential to stand out.
The scripts of 'The Wire' are fantastic - the scripts of 'Breaking Bad,' the scripts of 'Mad Men,' the scripts of 'The Sopranos,' the scripts of 'Battlestar Galactica.' You could keep going on. They're incredibly well written.
It's nice to play a character who's written as a mixed race character and is not a drug addict.
A lot of screenwriters have a drawer of unsold scripts that they cut their teeth on. I don't have one. Everything I've written, after my first spec, I wrote on assignment. Everything I've written was work.
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