I believe in storytelling, not story-selling. I want people to believe the characters are real. So I'm a realist.
It's a beautiful aspect of narrative construction, hunting for the right images and metaphors to render our character's heartsmindssouls as though they're ecosystems, full-fledged settings for a reader to inhabit like a place.
Which of us has not felt that the character we are reading in the printed page is more real than the person standing beside us?
What I believe will make my acting career successful going forward is hard work. I like to challenge myself. Then it's the people I meet and choosing the projects I want to work on correctly. There's a lot of characters I can play.
[W]hile people are making a big fuss over Gruber's calling Americans stupid, they ought to be far more outraged that he admitted the administration purposefully lied to us. This is the real story, and it reveals, once again, the character and mentality of this entire administration, for Gruber was speaking not merely for himself but about the entire administration, beginning with Obama.
How can we expect a harvest of thought who have not had a seedtime of character?
You can put the camera in places where you may not necessarily be able to put it there if I don't do the stunt. If it's character and it's storytelling, then we do it. We design the things around me. I don't do it just to do a stunt. It's storytelling for me and how I can best bring the audience into the action, bring the audience into the story. And that's how we always look at at.
In horror, character development is often pushed aside in favor of the shock value. The best genre movies to me are movies like The Shining. You had a connection to the characters in that film.
To me, and I'm sure for other writers, too, characters come back and they relive again, but what about those characters who only live for a page or two? Or for five pages or 10 pages. I like to think they're still out there - still living - but for me they kind of die, too. It's kind of sad. I don't think about them anymore unless I give them life again.
I think you do have to attend to the sort of core values of film, which is that the audience wants to have a relationship with the characters, they want to understand what's going on there. There are certain things that comics can have a little bit more freedom in then when you're asking an audience to engage in it as a piece of cinema, but I do feel like the canvas is much bigger and wider and that we're being invited and frankly challenged to take risks, to be a little bit different. And that's fun, that's exciting.
Whether it's someone struggling with mental illness, someone struggling with poverty or struggling with their own limitations in their social behaviors, for some reason, I'm drawn to characters like that.
Well, it was interesting because when I was going to do it the first time in my head was Leonardo DiCaprio [for Chris] and Marlon Brando was going to play the character that Hal Holbrook eventually played. But then when it wasn't to be and there was no promise that it ever would be I think some part of me didn't want to attach specifics to it anymore - actors or anything else - because I wanted to see it made that much more badly.
I still get stage fright horribly. I still get nervous. I do tend to find when you're playing characters, often - just for the time you're playing them - there are sides of your personality that get stronger because you draw on them more.
Character is what you are in the dark.
Well, finally, the events I've been through have been tremendously complicated. All kinds of characters have come on the scene, and strange things have happened one after another, to the point where, if I try to think about them in order, I lose track.
I don't really distinguish between a fictional hero and a real life hero as a basis for any comparison. To me, a hero is a hero. I like making pictures about people who have a personal mission in life or at least in the life of a story who start out with certain low expectations and then over achieve our highest expectations for them. That's the kind of character arc I love dabbling in as a director, as a filmmaker.
Bluffton is growing. But we must hold on to that small-town character.
The sound and proper exercise of the imagination may be made to contribute to the cultivation of all that is virtuous and estimable in the human character.
All thought must, directly or indirectly, by way of certain characters, relate ultimately to intuitions, and therefore, with us, to sensibility, because in no other way can an object be given to us.
People with courage and character always seem sinister to the rest. It was a scandal that a breed of fearless and sinister people ran around freely, so they attached a nickname and a myth to these people to get even with them, to make up for the many times they had felt afraid.