It can certainly happen that characters in more sophisticated stories can 'take over' as they develop and change the author's original ideas. Well, it certainly happens to me at times.
Characters written in 1990 would be acting like idiots if they were cast into the present. For example, the reader might wonder: Why isn't she texting? Where's her cellphone? Can't she have a simple paternity test? For God's sake, look on the Internet and check him out!
I'm always going with my visceral reaction when I read a script. I am more drawn to characters who are conflicted, and in developing a character exploration. If it's a baddie, I'm rarely intrigued, and if it's a goody two-shoes - too much of a good guy - I'm not, either.
I want to keep doing different things. I'd like to do a more personal, dramatic movie next, I think. But as long as it's about characters and good writing and good parts for actors, that's what's important.
It is very grand and sumptuous and awesome to look at but it was really about the characters for me.
I would love to do more movies, but the reality is women have many more opportunities on television to play a greater variety of characters.
Sketches have characters, exits, entrances and are vastly different.
Ramona was originally an accidental character I added to the Henry Huggins books because I noticed that none of the characters had siblings. I added Ramona as Beazus' pestering little sister.
I am attracted to characters who are in worlds where they don't belong and who have great ambitions that they imagine will somehow reconcile themselves with the world and make things right.
I feel like when you do things with such a small budget, it actually makes you be more creative... and allows you to concentrate more on the story and the characters. I think that there is something about dirty, gritty and raw filmmaking that makes it feel a little more natural and makes it easier to connect with the action.
I have to know the killer, the victim and the motive when I begin. Then I start to create the characters and see how the novel takes shape based on what these people are like.
With comedy, don't try to be funny. That's really helped me. Just say the lines as you would say them, interact with other characters, and try to make it as real as possible. It will come out funny.
What I've been able to do with my character, Madea, and the other characters, with the jokes, is use it as an anesthetic to get to the heart and soul of real issues. And what I've found on stage over the years is that, while making people laugh, I can drop in pearls of wisdom.
Thrillers have been traditionally very masculine books; the women characters often rather decorative.
Every character has their reasons - even the characters who do dumb things.
Interactive storytelling emphasizes a personal connection with the characters. It is a powerful tool that can draw you so deeply into the world of a story that you lose sight of it as a story. You think you are there - at least, if it is done right.
In order to appeal to a wider audience on network in order to survive, generally your characters need to be, at a base level, a little bit more likable.
I'm not really one of those people who goes and writes some big back story and agonizes over characters. I think you kind of can get it. For me personally, it's just kind of more instinctive. But I don't have kind of an acting background. I fell into it accidentally.
The Swords were still interesting but by then a cast of characters had started to appear and go on from book to book, and other things about the world began to feel constricting. And there were other things I wanted to do, so I closed the series up and stopped it.
In the 'Buffy' room, it was never about a plot twist, ever. It was always about, 'Tell the story, tell the characters, complicate their lives, make things get worse,' but we never worked backwards from the plot, and it was always a great lesson.
I try to build a full personality for each of our cartoon characters - to make them personalities.
My characters who come back from death are worse for wear. In some ways, they're not even the same characters anymore. The body may be moving, but some aspect of the spirit is changed or transformed, and they've lost something.
It's not all 'Jane Eyre' out there. In her sweet, honorable, slightly passive-aggressive way, Jane was as perfect as a protagonist can get while remaining interesting; in fact, she's one of my favorites. But most characters are more morally ambiguous.
As an actor, the ambition is to play interesting characters. And in the indie genre world, the budgets are low. That allows me, as an actor, not to have a financial value behind my name, to justify me being in these bigger parts for these types of movies.
I like playing characters with as many emotions as possible. I'd love to play a really crazy person - someone truly out of her mind.
Although this is a fictitious story the history is real. You don't want to re-write history but you certainly want to portray events and characters as realistically as you can.
I love to have real people of history interact with my fictional characters. History gives me the plot. I research the period meticulously, and then I blend in a romantic and sensual love story to give it balance. The heavier the history, the more romantic the couple must be.
There seems to be more opportunities for old guys like me to do a little fighting and running because the lead characters also require a bit of depth and maturity and gravitas that one is likely to acquire doing drama all those years.
In 'Hollow City,' I'm taking all the characters out of the lives they've been secure in for years and plunging them into the unknown. That's how you really get to know them.
Building upon the world we created with 'Avatar' has been a rare and incredibly rewarding experience. In writing the new films, I've come to realize that 'Avatar's world, story and characters have become even richer than I anticipated, and it became apparent that two films would not be enough to capture everything I wanted to put on screen.
A certain luxury when you get to writing a novel is to have the space to have your characters just banter.
The more you understand me, the less characters I can play.
I'm not always interested in Hollywood norms and boy-next-door kind of characters.
I've played a lot of really smarmy people in film, and it can be real fun, don't get me wrong. But it can be characters I'm not as excited to explore.
There's a lot of actors I think that appear so much more together as the characters they portray as opposed to the actual people, so I know I've said this before: Hollywood's not a place where you're rewarded for growing up.
Reading a novel in which all characters illustrate patience, hard work, chastity, and delayed gratification could be a pretty dull experience.
