Real people are never central characters in my works.
I'm often drawn to characters that are more obviously one thing. They're passionate, and there is always an element of strength because I think every person possesses that in some way, even if they've experienced hardship in their lives.
I've done it with Broadcast News-where there was no finish line, there was no agenda that I had to move all the characters to this point, that I was sort of open to what happens.
Dr. Larry and Viki are the only original characters left on the show.
Reality television paints a simple black-and-white world of good characters and bad characters; people we want to root for and people we want to see ruined. There is none of the gray ambiguity that colors real life. I no longer watch a lot of reality television, but sometimes I can't look away from 'Honey Boo Boo.' I just can't.
I think all of us, under certain circumstances, could be capable of some very despicable acts. And that's why, over the years, in my movies I've had characters who didn't care what people thought about them. We try to be as true to them as possible and maybe see part of ourselves in there that we may not like.
I just have that cop gene going on. I like strong women. I think a lot of women relate to strong characters, and a cop is still a strong character.
I always aspire to that, where it feels like the film was made by the characters as opposed to the filmmakers. I try to be invisible.
Yeah, I've always been accused of having a sense of mischief and I'm very flattered that you say you can see it in the roles I play, because I think that's important, even if I do play intense characters, like especially Christine Cagney.
I like shows that are surprising and not predictable. That have deep, rich characters that are fully formed.
The most unrealistic thing I've ever read in comics is when some group of characters calls themselves the Brotherhood of Evil or the Masters of Evil. I don't believe any character believes their goals to be truly evil.
The only two characters I can play convincingly are myself and a dumber and sweeter version of myself.
Playing characters who are wonderful and beautiful is hard because you don't feel like that most of the time... well, I don't. It's like this whole heart-throb nonsense. It's flattering, but that's not how I feel in the morning. It's something that goes with the job.
The thing about Marvel is that they're not - they're into real acting. They're looking for artists that are willing to take chances and are willing to create characters. Even if that character has been around for years and years in comic books, they still are depending on us to create something and take it somewhere else.
I write as if I were drunk. It is a process of intuition rather than placing myself above my story like a puppeteer pulling strings. For me, it's a scary, chaotic process over which I have little control. Words demand other words, characters resist me.
There's this sense of excitement because you invent and control the characters. You decide whether they live or die. I find this type of creative process tremendously stimulating.
I think of 'Mommy' as very simplistic or not simplistic, but I wish for the style to actually work with what you see onscreen and what you feel in that very moment. I hope we did not disrespect the characters by being too flamboyant when it's not necessary.
I always swore I would never write a book. But I read Clare Balding's and it was really interesting and so prettily written and lovely and not too revealing. I went to her book launch and met her editor who said 'why don't you think about it? You can do it however you want, based on your characters or you.'
I start with characters, and then I start writing, and then, if I'm lucky, things start to happen.
In my standup work, I always do these characters, older people who are just off to the side. It's easier to write a story about the guy who made it to the top, but the middle is so much more interesting, so much more murky.
Who said that being Latino is to be a stereotype? Characters are stereotypes when making plans or without shades. I do not believe in the picture or model established in the movies.
I couldn't do any of my other characters, you know? But I could have done the lady. Church Lady's Malibu Beach party is an idea I have for a movie, too. Yes.
We don't consider the Wizard of Oz or Father Christmas to be too old. They're still magical characters, and the fact they've been around the block only adds to their magic.
In general, I think writing characters, no one is 100 percent good or bad, and certainly, the bad characters never think they're bad themselves. Even the worst characters don't feel like they're bad guys on the inside.
Multifaceted and textured characters are always more intriguing to me. You never really just want to play one note. It becomes a bit monotone and boring.
Because I had a lot of emotional upheaval in my life, I'm attracted to stories about characters whose lives are full of wounds and secrets. I'm not interested in who's going to ask me to the prom. I never went to a prom.
Characters with no integrity are just as interesting as characters with lots of integrity.
I lost myself, and a lot of characters I played, I have latched onto some of their identities just because I was so lacking in anything of my own.
I have a real eclectic taste for work, for movies, for characters and jobs.
I love playing characters who are opposite of who I am.
I find it very difficult to be two different characters at the same time - actress and mother.
'Homeland' really is one of those shows where they start to write more or less depending on what's kind of going on in a relationship between characters.
Creatively, I just like interesting characters. So straight, gay, or whatever - like, whatever, wherever the characters are coming from or their lifestyle.
I did a great deal of research to write 'The Irish Duke.' Since all the people in this Lords of the Realm series are real historical characters, everything had to be authentic. I researched Woburn Abbey, where my heroine lived, and everything about Barons Court in Ireland, which was the ancestral home of Abercorn.
I've learned through experience of playing different characters, some of whom were jerks, that when you play a character who is pretentious or obnoxious, in any way, it's important to knock them down a peg.
Many novelists take well-defined, precise characters, whose stories are sometimes of mediocre interest, and place them in an important historical context, which remains secondary in spite of everything.
