Finn Jones Quotes
I know feeling pressure gets you nowhere creatively. You've just got to understand the character, understand the story, and just play it to the fullest extent.
Quotes to Explore
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Feeling comfortable in my own skin has never been easy for me.
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Sometimes the kids come up with better endings than the real story.
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In Men in Black, it was a very small character, no pun intended.
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It just seemed like an unattainable dream to go down to Los Angeles and to land a professional working, acting gig on a show that you really love with a character you really connect with. That doesn't seem possible; that seems insane.
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The markets are much more interested in America's long-term trajectory than they are in feeling that there is an acute short-term crisis.
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When 5150 came out rock was king. Post Nirvana and Pearl Jam 1996 is a different story.
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Character in a saint means the disposition of Jesus Christ persistently manifested.
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There really isn't a story that you can't tell inside of it. It's very much a clearinghouse for anything that goes on in the world. So you're not at all limited.
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I read the script for 'Guncrazy' in 1985 and loved it because it was one of the few scripts I'd come across that revolved around a strong female character.
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As time went on, I did campaign to lighten the character a little bit, to introduce some romance into the episodes, outside activities, horse riding and fencing and mountaineering.
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'Seize the Story' takes readers all the way through the process of writing fiction, from beginning to end. Every element, from dialogue to setting, plotting to character creation, is laid out and illustrated with examples. But the tone of the book is not that of a dry writing manual - it's definitely written for teenagers.
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Little moments can have a feeling and a texture that is very real.
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A lot of people put pressure on me, but I don't think I feel that type of pressure. It is more of a good thing that people are trying to do that.
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I have done theatre, and I enjoy the process of smaller films a lot more. When I do such films, there are certain things which I get to do which are untapped. The scenes give me the liberty to play and mould the character in accordance to the director's mindset.
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I always wear the shoes of the character a week before going on set; the idea of just putting on a new pair of shoes on the first day of filming is just horrific.
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Anyone can die. Rule number one is don't get too attached to a character, anyone can go.
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What is it precisely, that feeling of 'returning' from a poem? Something is lighter, softer, larger - then it fades, but never completely.
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I kinda lose my mind in 'Fringe,' or at least my character does. Whenever I'm acting, I tend to accidentally become unable to switch off the character. I'm a little bit of a method actor, but without really wanting to be.
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I come from film, where I only play a character for three months at a time, and then it's done, so it's important for me to be able to put on other hats and make sure that all of the tools in my toolbox that don't apply to Olivia Pope are still in shape.
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In fact, jazz has such a great feeling and great emotional content that it really doesn't require you to have technical understanding of it. I think you just have to allow your feelings to go with the music and you will find yourself carried along by it fairly quickly.
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What I loved about romances was the character, and I think I still bring that to my novels. What romance taught me was that the 'who' will always matter more than the 'what.' It's fun to come up with plots, but I want to make sure the reader cares about who it's happening to.
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I have come to believe that there are infinite passageways out of the shadows, infinite vehicles to transport us into the light.
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I like adventure.
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I know feeling pressure gets you nowhere creatively. You've just got to understand the character, understand the story, and just play it to the fullest extent.
