I have been through and seen so many dramas and traumas and been in so many situations that I can probably interpret a few different characters.
I want to try everything I can; I want to push my boundaries and experiment with characters and genres that I have yet to try.
Before you start production, you have characters you have created without actors in mind, then all of a sudden you've got actors. They bring an enormous amount in creating these characters, and creating the dynamics between the characters that you've written.
The Smurfs - and they're this way in Peyo's comics as well - do have a rubbery indestructibility about them. They can get bruised & battered. But they then just sort of bounce back very quickly, like those classic cartoon characters Wiley Coyote and Tom & Jerry.
If you want to believe in the fantasy on screen, then you have to believe in the characters and use them as a stepping-stone to lead you into this fantasy world.
I would rather portray the hero if it's a really great film. All my favorite fictional film characters are heroes, such as in 'The Last of the Mohicans' and 'Robin Hood.'
Twitter is the ultimate service for the mobile age - its simplification and constraint of the publishing medium to 140 characters is perfectly complementary to a mobile experience. People still need longer stuff, but they see the headline on Twitter or Facebook.
What I love to do requires portraying different characters, and you have to separate your life from the role.
I've had battles with writers who live in L.A. and were writing southern characters, because they felt like if they wrote 'Sugar' and 'Honey' at the end of every sentence, that would make it southern.
I try to always stretch myself to fit the characters that have been presented.
From its beginning, fan fiction has been written mostly by women. Originally, this was because of a dearth of interesting female characters in conventional sci-fi.
The nucleic acids have considerable biological importance because of their role in cell growth and in the transmission of hereditary characters.
Creating authentic emotional experiences, whether it's 'Star Wars' or 'Spotlight,' are driven by characters and stories that are engaging.
With a few notable exceptions, literary fiction in the U.K. is dominated by an upper and upper middle-class clique who usually have a tin ear for the demotic and who portray working-class characters with, at best, a benevolent condescension.
The important thing is for the characters to feel real, and to be given the humanity they are due. That granting of humanity is what separates a full portrait from a stereotype.
Calvin and Hobbes are the only two characters from my childhood reading that I return to with any regularity, and they have grown with me, yielding newer and deeper meaning.
It's lovely to be considered pretty and lovely to do photo shoots, and I just love fashion. But I'm proud that I did the characters I wanted to do.
When I'm creating characters, I just want to create characters that I can relate to, and be as honest about them as people as I can be. That's what I want to see when I go to the movies.
This is the beauty of fiction. We may not like these characters, but we inhabit them.
When good things come in, my agent calls or sends me the script. But I allow them to sort through the offers so that I am not just sitting and reading everything because honestly, sometimes the scripts that appeal to me are projects that are not good projects, but I just really like the script or the characters.
You are always hoping that movie audiences are interested in characters and interested in story values rather than just mindless special effects. But you never know.
I'm a quasi-only child. With my brother and sister, I've more of a tendency to be semi-maternal. So, yes, I spent a lot of time talking to myself - I had this big dressing-up box and would just dress up as lots of characters and talk back to myself... Verging on schizophrenia, I suppose, if you analyse it carefully.
My main question that I ask of my characters is, 'What does it feel like to be you? And how do you get through the day? Where do you find the hope and faith to endure getting through the days, and what are your days like?'
I admit I do develop characters from little parts of things I've seen others do.
Now, I admire The Sims as a game, but from a story viewpoint, there are two glaring problems. First, your relationship with those characters is like they're bugs in a jar. There's no empathy. And secondly, you've got this clunky, chemistry-set interface between you and them, with bars to show how tired or angry they are. It's all tell not show.
Before I write the first page of a novel, I spend a long time creating detailed backgrounds for my characters. I imagine the experiences that have formed them, what makes them happy, angry, fearful, and what they yearn for.
If you change a character too much, the audience falls out of love with the character, but characters need to evolve and grow over the years.
With actors like Steve McQueen, Paul Newman and Harrison Ford, what made them such icons is that even in dramatic movies, their characters had a sense of humor.
I really enjoy working in genre series, because you really have to create the characters.
I've met so many fans of daytime television who've watched the shows with their moms and grandmas and feel like they've known the characters their whole lives. It's sad for them to have to say goodbye to their favorite soaps and characters. We don't want that to happen to the 'Days' fans.
We had a moment in the '40s and '50s, where female characters were very strong in film, where these incredible roles were written for women like Joan Crawford, like Bette Davis. But then there was a space of time where - I don't know why - it wasn't like that. It became difficult for women to find certain roles after a certain age.
Marvel's got a crowded universe, and there are already so many characters hogging the spotlight that it's hard to break through that. First off, whatever character you're creating, odds are, there's already someone similar in one way or another.
I have played characters where I haven't been absorbed - you know, what I call a typical film leading man role where you just have to look gorgeous and be attractive and charming. It bores me. I like a bit of dirt, a bit of sand in the oyster.
Songs of different moods are like keys, which help me enter the world of my book's characters.
It's taken me a long time to get work, so that's why I like to play really different characters that are really foreign to me. I want it to be something great, and I want to have a great experience.
Creating characters is just another way to express a type and put that type to use.