A Quote by Liev Schreiber
I think, the first time I played Iago at the Public Theater, I realized I had a - much to my chagrin - I realized I had an instinct for these conflicted characters, for these torn characters, for these characters who could be described as evil. I wouldn't describe them that way.
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I once had an editor advise me, as I was revising one of my early novels, to add more characters. I played around with the idea. As soon as I'd decided a few fresh faces and give them something to do, I realized that what my editor had really asked for was more plot. Ding. More characters equals more action.
When I look at my body of work, I've played a lot of characters who are morally conflicted - 'I'm right, no I'm wrong, I don't know what to do!' I want to play more characters who don't care as much, and who aren't as measured. They are what they are, no apologies.
I had played many gay characters before, but they were finite - guest characters in TV shows or characters in plays.
My role in 'Legally Blonde' was really rewarding, because I had so much fun working on the movie. I've had really rewarding experiences on tiny low budget films that you'll never see but where I had a cool time creating characters as well. I love almost all of the characters I've played.
The nature of acting is that one is many characters and jumps from one skin to another as a way of life. Sometimes it's hard to know exactly what all of your characters think at the same time. Sometimes one of my characters overrules one of my other characters. I'm trying to get them all to harmonize. It's a hell of a job. It's like driving a coach.
My experience is at The Groundlings Theater, where we created different characters and did sketch comedy. And sometimes the characters were outrageous, but they always came from a real place. So even working there, we had to create characters from the people that we knew.
I think it's definitely beneficial for these characters to have good acting voices behind them and it affects the characters in a way that people can feel like they're part of the game and that they know these characters.
I'm grateful that so many viewers have related to characters I've played. I think many in the audience see themselves in my characters or feel like the characters are similar to their friends or sisters.
I like complex characters. I've been very, very lucky to portray, in these past three years, characters that are strong and fragile at the same time. It's those characters that I'm looking for. In the last year and half I played three different religions, and that allowed me to educate myself so much.
I have always liked kind of outsider characters. In the movies I grew up liking, you had more complicated characters. I don't mean that in a way that makes us better or anything. I just seem to like characters who don't really fit into. You always hear that from the studio: "You have to be able to root for them, they have to be likeable, and the audience has to be able to see themselves in the characters." I feel that's not necessarily true. As long as the character has some type of goal or outlook on the world, or perspective, you can follow that story.
I'm portraying out characters, I'm portraying femme characters, characters that are really outside of the box. I never thought I would get that opportunity to portray those characters at all, much less have a career that I have.
I think that I write much more naturally about characters in solitude than characters interacting with others. My natural inclination - and one that I've learned to push against - is to give primacy to a character's interior world. Over the three books that I've written, I've had to teach myself that not every feeling needs to be described and that often the most impactful writing more elegantly evokes those unnamed feelings through the way characters speak and behave.
On the surface, Wonder Boys seemed like such a departure from L.A. Confidential - it's funny, it's contemporary, and so on - and yet at a certain point, I had a feeling that reminded me how I felt when I was shooting L.A. Confidential. I analyzed it for a while, and thought about how emotionally involved I was with the characters. Then I realized that in both movies, there are three main male characters and one female, and all of them are struggling to figure out what they're doing with their lives, independent of each other.
When you see bad acting, that's usually what it is - they're not listening to the other characters. It's always hard with first-time actors to get them in that moment where they are really listening to the other characters and reacting to the other characters.
Unlike most wars, which make rotten fiction in themselves - all plot and no characters, or made-up characters - Vietnam seems to be the perfect mix: the characters make the war, and the war unmakes the characters. The gods, fates, furies had a relatively small hand in it. The mess was man-made, a synthetic, by think tank out of briefing session.
My American accent is really, really good. I started out in the theater, doing all different characters with all different accents. When I first came to America, I thought I would be playing American, all the time. It was just weird how it worked out that I played more international characters.
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