Heidi Julavits Quotes
When I was writing my first draft, and feeling grandiose, I e-mailed an artist/clothing designer I know and suggested we collaborate on a fashion line inspired by the outfits my characters wore. I regret that we never did that.
Quotes to Explore
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If someone put a camera in my face now, when I am in student mode, I would get embarrassed, but when I am modelling, I play characters.
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Characters who don't suffer have no interest to me.
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The film industry is mostly about unidimensional characters.
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It never occurred to me that we would have as grandiose a program as the Marshall Plan, but I felt that we had to do something to save Europe from economic disaster which would encourage the Communist takeover.
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All of my characters are less than perfect.
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I try to get roles that challenge me in what I can do and who I think I can portray. For me, it's about creating characters with really fascinating stories, because that's what I like to watch on TV.
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For me, it's first about the characters. I look for a character who is intriguing and challenging and different from what I've done before.
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So much of movie acting is in the lighting. And in loving your characters. I try to know them, and with that intimacy comes love. And now, I love Voldemort.
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For me, 'Mommy' was about developing very humane characters that would be very credible and endearing and work onscreen.
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I am a method actor, but I'm also a film actor as well as a method actor. Characters that don't have humility, whether they are heroes or villains, are hard to relate to. All characters in every aspect of what we do should have humility. If they don't, then they're a cartoon character.
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I don't mind playing bad guys, but I love having the opportunity to play all different types of characters.
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You know, I have some issues. But I just love to play different characters all the time, and I try not to repeat myself too much.
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[Success] always starts with the material; it always starts with the truth and honesty of the characters that you read in the screenplay and that's rarely something that can be remedied if it's simply not there by the time you shoot the film. Thank God we had that.
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I believe that an author who cannot control her characters is, like a mother who cannot control her children, not really fit to look after them.
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I'm not going to experience the reality of hardship that sometimes my characters live in. I'm very cautious about that.
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Villages are small and personal, and their inhabitants have names, characters, and personalities. What more appropriate concept on which to base our institutions of the future than the ancient social unit whose flexibility and strength substained human society through millenia?
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All the characters of the Passion agree to the year 34; and that is the only year to which they all agree.
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Each of my characters comes from somewhere, and where they come from, good or bad, has a large part in forming who they are, and who they can become.
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I'm mostly influenced by life, what's around me, and my own childhood.
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If we trace the history of any nation backwards into the past, we come at last to a period of myths and traditions which eventually fade away into impenetrable darkness.
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We are product of neither nature nor nurture; we are a product of choice, because there is always a space between stimulus and response. As we wisely exercise our power to choose based on principles, the space will become larger.
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When I was writing my first draft, and feeling grandiose, I e-mailed an artist/clothing designer I know and suggested we collaborate on a fashion line inspired by the outfits my characters wore. I regret that we never did that.
