You don't write for actors. Actors come for characters you've made up.
All I wanted to do was read, to be told stories. Stories were full of excitement and emotions and characters that entertained and often inspired.
Every actress hopes to play a wide range of characters because not often you dont.
I've never really been a fan of violence. I'm more into the characters and their journey and those kinds of movies don't really allow for that. It's a different focus.
I love the TV show, and if you make a bad movie it means you've soiled it. Just like if we made an advert. We were offered so many times and I'd say, look, this is the good thing, and you can't compromise that, because then you compromise the integrity of the characters.
The history and baggage of certain actors and characters - it goes into the movie and becomes part of it. If Keanu Reeves wasn't Keanu with all the things that make him Keanu, it wouldn't be the same for him to come in and become his Bad Batch character The Dream. It's kind of meta or next-level interesting for me.
The funniest things just come from honesty. We have a tendency to see female characters as representative of something larger than what they are, when male characters are just characters.
You can't go around hoping that most people have sterling moral characters. The most you can hope for is that people will pretend that they do.
The more you are known, the more difficult it is to hide behind characters.
Customs are made for customary circumstances, and customary characters.
I've always been drawn to writing historical characters. The best stories are the ones you find in history.
We can't handle violence in women characters but we CAN handle what's done to women in our present tense every second of the day worldwide? Or next door? Or in political or medical discourse? Please. That idea just makes me want to crap on a table at a very fancy restaurant.
I was a repertory actor, which meant that I did a play every week. I was a different character every week; for a year, I was doing 40 or 50 characters.
Woman's faith and woman's trust, Write the characters in dust.
I can always see something of myself in the characters I play.
The situation comes first. . . the characters. . . come next. . . [then] begin to narrate.
I think everybody likes to play the villain. Theyre always much more interesting characters.
I type even faster than I talk. I'm very proud of that. I type so fast. And I have to because the characters are living in real time and I've got to keep up with them. It's a miracle they even give me a royalty.
The interesting thing about fiction from a writer's standpoint is that the characters come to life within you. And yet who are they and where are they? They seem to have as much or more vitality and complexity as the people around you.
I still wrestle with the catharsis of acting. I don't end up playing a lot of likable characters, so I find myself living in a lot of unlikable skin. As a result of that I don't always feel good.