I read a blog about this young filmmaker in the Philippines who made a short film, and one of the characters in the film reads my novel and then starts discussing the novel with someone. The idea that my book can inspire another artist and be part of that other artist's work... that's the reason I write.
One of the greatest tools you have as a songwriter is anonymity. If someone knows too much about the songwriter, they don't get to insert their own characters. I don't want the audience thinking about the gay guy who wrote the song.
I know what I want to achieve in each book and the major points, but I don't plan right down to the chapters. I think that the characters write themselves in some degree.
I love the smell of a theater. The old rooms and the carpet and all that stuff. I love to tell stories. Even before I was doing music, I saw myself as a director. So most of my songs come in a play form, you know, where there are characters and stories, so I like to go beyond just the song sometimes.
I always knew that I wanted to do voiceovers as part of my career. I just kind of didn't expect it to take off the way it did. I couldn't be happier. I love the chance to play so many different characters every day.
When I write songs, I try to remove myself a little bit. Obviously, they're very personal to me, but it feels easier if I feel like I'm writing characters.
I am one of the new characters in the brand new series of 'Postman Pat.' It has been a joy to do.
Most mainstream male fiction is littered with heroines, and female characters are basically so great, you want to fall in love with them.
Characters I've played, they used to impact my paintings, like 80 percent of the time, and especially when I was doing an action film.
I love good stories; you have to have a good plot - characters which intertwine with a good plot.
A playwright who limits himself - or is limited - to a handful of characters is forced to concentrate on the essentials of the situation that he has chosen to portray.
Frank's really different from everything I've done. Maybe the one thing that's the same, and the thing that I tend to do, is that I think I can create an intimacy with the characters, like a sense of presence with the people in the film, and that's what I tried to do in 'Room' as well.
Usually, family films have characters speaking with each other with much dignity and respect.
My books often involve characters who began in some form of mental isolation, with a feeling of having died to the world. Then they become involved in some kind of action where by necessity they're forced to reengage, to get back into the game of life, as it were. You could say that about 'Chance.'
The act of seeing any film generally is you knowing more than the characters, even if it's the classic Hitchcock shot of two people talking and a bomb being under the table. Part of the pleasure of it is seeing where people go wrong, and the irony of situations.
I think I have so much more to accomplish in this world of acting. There are many different types of characters I want to play. I want to keep making people laugh, and I want to explore dramatic roles as well.
I like grey characters; fantasy for too long has been focused on very stereotypical heroes and villains.
It's often the death of the show when you break the tension and the two lead characters get together.
I write the occasional entry for the 'Times' Theatre blog, especially when I'm in London and seeing two shows a day, but I don't tweet. I don't want to have to express my opinion in 140 characters. That's like writing haiku. You need a certain amount of legroom to review a play properly.
The world cannot live on 140 characters alone.
As an actor, these kinds of big-comedic-centerpiece characters is just one thing that I love to do.
I'm always interested in the ways in which a character can inhabit either a theme or a premise personally, so that those scenes that are about his character or his relationship with other characters feel in context and don't seem to be apart from or oddly vestigial to the actual drama.
Jim Henson once allowed me to visit the Muppets on set and spent an entire day showing me how he and the other puppeteers performed Kermit and all the characters! After that, I was lucky enough to work with both George Lucas and Steven Spielberg on many fun animation projects and learned so much from them.
Hollywood does draw some very strange characters, and then the power of Hollywood and what they can do with it becomes like a blood sport to them.
I enjoy clothes. My mother tells me how, even as a kid, I used to choose my own clothes. I have a feel for it, and I do the costume coordination for my photo shoots as well. Many a time, even my characters wear the clothes I choose.
I think in many ways, I'm sort of a blank canvas, because in many ways, I'm just observing the world and the people around me and their characters and letting them kind of explode off me and to find out why they're doing what they're doing. But then every once in awhile, I get to take on a whole new character.
Tom Hanks, who starred in 'The Da Vinci Code,' turns out to be related to a number of the historic characters that feature in 'The Da Vinci Code,' including William the Conqueror and Shakespeare.
One of my favourite kinds of movie is the American picaresque, in which the characters make their way across the country, learning about life against the gorgeous backdrops of that vast land.
Usually, when you do video games, you don't interact with the other actors. You each record your audio on different days, and you never really meet the other characters.
There is no need to change my image. I like my image, and the audience likes it, too. I am very comfortable with the kind of roles I do, and as I am not doing the same character or playing myself. I explore my characters; I don't brood over my broody image.
There are technical tricks that may help you create more effective characters. My approach to characterization is not at all technical. I can't really analyze how I do it, but I am sure of one thing. To write convincing characters, you must possess the ability to think yourself into someone else's skin.
I can play characters who sing, but I don't like singing in a nightclub or something. It's not my metier.
A lot of comedies fall apart because they just go from joke to joke, and the characters are all sort of being crazy off on their own.
Human beings are glorious and preposterous characters.
I've found that in fiction - and this is just the kind of writer I am - I can't really work from an outline. I have a vague idea of the characters at the beginning of the book, and then I have a vague idea of whatever the end of the book will be, but I can't approach creative nonfiction like that.
I was embarrassingly well-versed in Marvel lore, so it was pretty easy to slip into that world. But really, already, by the time I'd started writing superhero comics, my dream was really to be writing my own characters.
