Whenever you can manoeuvre your characters into a situation where they both have a good argument to make, you're on the right track.
The more you are known, the more difficult it is to hide behind characters.
For me, what really excites me about my characters and what pushes their core is the kind of dark, sad side of life.
As far as characters in fiction that I really admire - it's pretty strong to say you would wish that you had created another character - but I'll throw out Will Graham, the protagonist in 'Red Dragon,' a book I've read several times.
I like flawed characters very much. A lot of times I get asked to do parts that are kind of small but key - three-scene roles that are three kick-ass scenes. Growing up, watching as many movies as I did, I was always into character actors like that.
The genealogy of fictional characters can become an obsession, like train-spotting, and should be firmly resisted.
I do like to write about characters who aren't just starting out, who have had adventures before, who have had a past they aren't that happy looking back on.
I had played many gay characters before, but they were finite - guest characters in TV shows or characters in plays.
I try to distinguish my characters from each other.
There is something about my aura or essence, or whatever, that draws the ex-wife characters to me. I don't seek them out, but people tend to think of me for that particular archetype, or whatever you want to call it, and I don't mind it. I think there is a strength to it.
Most of the dialogue in 'Speed' is mine, and a bunch of the characters. That was actually pretty much a good experience. I have quibbles. I also have the only poster left with my name still on it. Getting arbitrated off the credits was un-fun.
Strong characters are brought out by change of situation, and gentle ones by permanence.
After 'Prom Night' I did two movies where I was playing a prostitute. I gravitate towards characters that have some sort of inner turmoil or some sort of character arc. That's the great thing about acting, so many different things and being really diverse in your choices.
My feeling with my characters is that they all have a right to feel exactly the way that they do, so I never censor them. I don't judge them.
Apart from 'VIP' being a blockbuster movie, the various characters such as mine, the Luna bike I use in the movie, the lovable amma and appa, a pet dog named Harry Potter, the innocent brother, etc., had a huge reach among the audiences.
Sometimes, the action genre does get stale. Although I want to go back and see my favorite characters in their tentpoles - and will religiously do that - it's really fun to see breakout ideas and concepts. Let's make some new stories.
When I write Superboy and other DC characters, it's about boiling them down to core concepts.
The way I write is that I'll actually have a conversation out loud with myself. In a weird way, I just kind of get schizophrenic and play two characters.
Every drama requires a cast. The cast may be so huge, as in Leo Tolstoy's 'Anna Karenina,' that the author or editor provides a list of characters to keep them straight. Or it may be an intimate cast of two.
Wherever a writer grew up, they're obviously influenced by that area, and I'm sure their characters are pulled from those experiences.
As an actor, I'm always playing solitary characters. But as a director, I'm always making ensemble movies, which focus on lots of people's lives and how they intertwine.
I do always feel very proud and flattered by being asked to be a part of American productions playing American characters.
Early in my career, I'd plan something out for my characters. But I've learned that if you know who your character is and you go on instinct, it won't be wrong. It's never wrong. It's just different.
As an actor, it's amazing to get to create different characters.
A photo app is a utility. It's like comparing 'Twitter' to Microsoft Word. If you want to be an author, you're not always going to constrain yourself to 140 characters.
Our goal at Home Theater Films is to inspire and entertain our audience. We want to make great movies that everyone can enjoy and elevate them with contemporary, relatable characters that naturally demonstrate their faith in real world situations.
There are mystically in our faces certain characters which carry in them the motto of our souls, wherein he that cannot read A, B, C may read our natures.
I tell my students based on my experiences in Hollywood, sure, you can always move to L.A. and try to work with the system, and people do that, but chances are if you want your story in film with characters of color, you will have to make that movie yourself. Find a way to make it yourself. Not just screenwriters, but also producers.
In a way, the characters often do take over.
Texas is just so rich with characters. Women who live alone in a little house on a thousand acres with nothing but cattle and a pickup truck. And an airplane.
Actors pull from their own experiences to bring reality to the characters. I wouldn't want to play someone who's a lot like me. There would be no turning it on or off.
Choreographing a fight scene is telling a little story. You learn a lot about the characters involved.
Like most people, I'm fascinated by characters who are completely flawed personalities, riven by anguish and doubt, and are psychologically suspect.
I don't know quite how a story develops in my head. It is a bit chaotic. If I am working on a series, one of the main characters at least is already in existence as well as some setting and minor characters. Finding the other main character can be a challenge. Sometimes this character already exists in a minor role in another book.
Homer's whole language, the language in which he lived, the language that he breathed, because he never saw it, or certainly those who formed his tradition never saw it, in characters on the pages. It was all on the tongue and in the ear.
I'm really drawn to adventure, and characters being plucked from normal life and sent on extraordinary adventures.
