A Quote by Keir Gilchrist
When I create a character, I do it with the directors, and I take their notes and try to have my notes meet in a common ground. I don't create characters myself, and I don't really think that's my job. I'm not a prep person at all - plus, I'm just a lazy procrastinator.
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I feel like the great filmmakers who have a true voice, yeah they take the notes, they understand the notes, but it's really about the notes underneath the notes. When you do a test screening and somebody says, 'Well, I didn't like the love story,' but it was probably just too long.
I binge write, basically. I do a lot of prep, research, setup. I'll have a pretty detailed outline. Sort of like a beat outline. And then I'll add little notes and dialogue ideas, and I'll just create a 20-page document.
The way I see the job, my definition of it, is to create characters to the best of your ability and then fit into what's trying to be accomplished in the general framework of the film. I think that's whether you're doing this- even if you're doing musical theater. That's what I think an actors job is. I don't know. I like to think what an actors job is is to create characters.
My advice for other female directors is look for people who really appreciate your vision and are willing to genuinely support you. When it comes time to taking notes on various cuts, if you have a smart producer, listen to her notes!
I keep a journal and just kind of take notes. I don't really so much sit down and write songs - I just take a lot of notes, and sometimes I sit down and put them all together.
If I have a song where I hit some really high notes, I want to try to bring in equivalently low notes somewhere in there.
When you can sit down with a plain sheet of paper in front of you and make some notes, and, little by little, you see it take shape and become a concept for a movie or a TV show. That's a real thrill. You watch it go from notes on a paper to a meeting with writers and directors and actors. I can't think of anything that's more exciting.
I've been poked fun of throughout my career by fellow actors for my notes that I take. I have spiral notebooks that I carry with me on every project I do, and I take notes just so that if I have to relive a scene, if I have to go back, I know what I did.
I definitely take notes, but I feel like sometimes if I take too many notes, it kind of bogs down my mind a little bit. So, I just write down stuff that I need to remember for the game.
I try to master every facet of a character in order to build a safety net for myself, so I can go on to take more risks to create someone really distinct.
I am a sad person. In this world there are people who like major notes and minor notes. I like minor notes.
I don't consider myself a competition to anyone. There is ample space for everyone here. When there are directors who create characters for me, why should I feel bothered or insecure? When it comes to updating myself, I work very hard to relate to the emotions of characters I play.
To create a character who really interests you, try combining aspects of your favourite fictional character with a real person.
I only make notes, I don't write dialogues in full. And the notes are very much based on my knowledge of person.
My voice is unadorned. I don't try for perfection. I try to be honest and truthful and soulful with the voice I have. If I make mistakes in notes, or there are cracks in notes, I don't fix them. That's the way it is.
In a way, I don't create anything; I just open myself to the character, and the character takes over. Of course, I'm aware of it, and I'm driving it, but I don't try to control it. If I try to control it, it goes wrong.
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