I get inhabited by a character and then you mourn it. There's a period of mourning for me, definitely.
The characters are born from repetition, from repeatedly thinking about them. I have their outline in my head. I become the character and as the character I visit the locations of the story many, many times. Only after that I start drawing the character, but again I do it many, many times, over and over. And I only finish just before the deadline.
What I do in the writing of any character is to try to enter into the mind, heart and skin of a human being who is not myself. It is the act of a writer's imagination that I set the most high.
A prolonged war in which a nation takes part is bound to impoverish the breed, since the character of the breed depends on the men who are left.
Adopt the character of the twisting octopus, which takes on the appearance of the nearby rock. Now follow in this direction, now turn a different hue.
When I was young I used to sit in the cinema thinking wouldn't it be great if you could have a film in which the characters were like real people instead of being like actors.
The trick to acting is not to show off; it's to think the thoughts of the character. I was lucky because when I started acting, it was doing jobs above pubs. I learned to act in anonymity, so by the time people saw me, I knew what I was doing. I was crap for years, but no one saw me being crap. It's a trade you learn.
My interest in this pack of failures betrays my character.
From since I could remember I've always been an artist, drawing, painting and so forth. I would also always draw made up rock n' roll characters in a band who each had their own style and personalities. I think by accident I was already becoming a fashion designer.
I've had male executives say that my lead character was unlikable because she slept with a lot of guys.
Also, worldbuilding touches all aspects of your story. It touches plot and character as well. If you don't know the culture your character comes from, how can you know what he's really like? You must know your characters on a much deeper level than you would if you just shrugged your way into a cookie cutter fantasy world.
I am certain that I have been here as I am now a thousand times before, and I hope to return a thousand times. . . Man is a dialogue between nature and God. On other planets this dialogue will doubtless be of a higher and profounder character. What is lacking is Self-Knowledge. After that the rest will follow.
I really liked drama and being in plays, so when I was playing a character onstage and I could act like somebody else, then I wasn't scared or nervous, but I didn't like meeting new people when I had to be myself. That was scary.
To recognize yourself in a character onscreen, and to connect with them, you gotta recognize their flaws; they gotta feel like a real person.
Most screenplays, most motion pictures, owe much more to the screenplay. Ingmar Bergman has such an economy of language, so little language in his piece, it is so visual, his moods are introduced and buttressed by camera rather than by word or character. But again, that's unique.
I like characters that do big things boldly and are driven by intensely personal feelings.
I have trouble describing characters because there is just too much going on in human beings.
The naturalistic literature of this country has reached such a state that no family of characters is considered true to life whichdoes not include at least two hypochondriacs, one sadist, and one old man who spills food down the front of his vest.
I relate to those characters - and any character I play - in as much as I put myself in their positions and feel how I would personally deal with their experiences.
Nothing affects the heart like that which is purely from itself, and of its own nature; such as the beauty of sentiments, the grace of actions, the turn of characters, and the proportions and features of a human mind.
