A Quote by Jamie Bamber
There's something extremely rewarding about following characters that you like and knowing that there's as many hours of viewing as you have the appetite for. You can tell more complex stories; you can create more complex characters in the longer form.
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The American horror movies are more moralistic, they have not only good characters, but characters where the ultimate danger is death. What I like about European cinema is they have another sense of what's good, what's bad, and sometimes all the characters are far more complex than just that. It's less binary, the Giallo genre.
I believe that if the story is fleshed out and the characters more believable, the reader is more likely to take the journey with them. In addition, the plot can be more complex. My characters are very real to me, and I want each of my characters to be different.
I'm intrigued more and more by complex female characters because I'm more in touch with myself. I realize how screwed up or complex I am. And I'm flattered that, little by little, more and more directors want to meet me.
We're interested in complex characters and he's a complex character, [J. Edgar] Hoover. I like these types of dramas. I've made a few of them and I'm also interested in power structures so it just has elements that fascinate me, and the more you learn about Hoover, the more polarizing you realize he is.
Every actor will tell you it's so much more fun to play the bad guy because usually those characters are more complex and more broad and more interesting, and have more sides to them.
Sometimes I make my life a living hell by writing complex stories with complex characters. But I love it.
Real history is far more complex and interesting than the simplistic summaries presented in Wikipedia articles. Knowing this allows you to question received wisdom, to challenge 'facts' 'everybody' knows to be true, and to imagine worlds and characters worthy of our rich historical heritage and our complex selves.
The most basic act of awareness or knowing that we can demonstrate in science. I postulate that that is the very basis of why we're conscious at all, that it is this relationship at the quantum level as matter evolves into more complex form, including plants and animals and living substance and ourselves, that this area of consciousness as an awareness becomes more and more complex.
I like to play non-cardboard characters. I try and bring out the many complex layers in the personality of the characters I play.
Third person allows a deeper exploration of the relationships between characters. We can see their misunderstandings and hear what they think about each other. We can create a more complex structure with various story threads running parallel.
I want to have a lengthy career. I want to play interesting characters. I want to tell beautiful stories, complex stories, deep stories.
I'm really interested in trying to tell stories about women that don't involve romantic components. That's so much a part of the way we feel about female characters and their needs that it feels like it's built in - but I'd like to find a way that it's not. There are so many more stories than that.
There is more meat and mileage in complex characters, like 'Running with Scissors.'
There are always leading characters. There are always complex characters; there are very rewarding plays with great directors and tremendous playwrights, yeah. I've done a lot of things with theater that I'm very, very proud of.
There's a remarkable amount of sexism on TV. When male characters are flawed, they're interesting, deep and complex. But when female characters are flawed, they're just a mess. It's good to put more flawed but interesting female characters out there because it promotes equality.
For me, there is a stigma attached to playing beautiful parts. They are often empty characters whom the action happens around. I'm more drawn to characters with a complex internal life, who have a burning frustration underneath that keeps them going.
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