How we shape our understanding of others' lives is determined by what we find memorable in them, and that in turn is determined not by any potentially accurate overview of another's personality but rather by the tension and balance that exist in our daily relationships.
Bad acting, like bad writing, has a remarkable uniformity, whether seen on the French, German, or English stages; it all seems modeled after two or three types, and those the least like types of good acting. The fault generally lies less in the bad imitation of a good model, than in the successful imitation of a bad model.