Character Quotes
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I feel like I understand Trump's character better than the average person now, having seen all of these little interactions with charity. I wanted to keep doing something that's like that, and not just doing pure politics. So my piece of the Trump empire is the golf courses, Mar-a-Lago, and the winery.
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I had to learn the image is not the word, which is a jolt for a literary soul. But it has served me well in terms of understanding plot, in terms of watching actors develop characters.
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For me, character comes from a specific condition or situation. I cannot really define a character outside that situation.
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I don't get dressed up as the character to go audition.
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I first heard the term "meta-novel" at a writer's conference in Tulsa, Oklahoma. The idea is that even though each book in a series stands alone, when read collectively they form one big ongoing novel about the main character. Each book represents its own arc: in book one of the series we meet the character and establish a meta-goal that will carry him through further books, in book two that meta-goal is tested, in book three - you get the picture.
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I think each character is different for me, but I am a director's actor. So if I get the right vision and right guidance from my director, I think sky is the limit for me.
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I don't think I was bubbly in 'Oohalu Gusagusalade.' It was a real character.
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Political leaders are not and cannot reasonably be expected to be indifferent to the cruelest calumnies aimed at their character.
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You know how sometimes you hear a chord played on an organ and you can feel it vibrating in your bones? Sometimes when I'm writing, I can feel my bones vibrating because I'll have a thought or I'll have a character's voice in my head, and that's when I know I'm on the right track.
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There's not a woman in the book, the plot hinges on unkindness to animals, and the black characters mostly drown by Chapter 29.
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You can be more creative in acting by bringing your character to life and bringing a piece of you that wasn't there before. You could have five different actors play one role, and all five of them would be so different because each person brings a different piece of them into it.
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Ninety percent of my roles, I've had to fight for. It's only a really small percentage of people who get handed roles. But that can be quite scary. The good thing about auditioning is that you get to test yourself and see if you can play this character - you're also auditioning yourself. I enjoy seeing what the chemistry is between the people you might be working with.
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The rule for finding plots for character-centered novels, which is to ask: 'So what's the worst possible thing I can do to *this* guy?' And then do it.
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I'm attracted to playing characters that have flaws.
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I like for there to be a moral, for the character to have gotten something out of the experience.
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As a kid, I wanted to be a musician but also aspired to be Andy Griffith's lawyer character, Ben Matlock.
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The politics of crime is not about a party's record or a candidates proposals, but about perceived character and values.
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I never had any urge or desire to do like a big spectacular movie with thousands and thousands of extras. I'd rather watch paint drying. But put me in a room with three people having a hard time, like a character situation, and then you're into a really intense portraiture kind of concept.
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The history of mankind is his character.
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You can't take a character anywhere they don't expect the character to go. But within those confines is where creativity lies.
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I like directors who come ready to challenge you to ask the right questions about your character, and I know that directors appreciate that in actors as well.
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'The Slap' is not like anything else. It's an incredibly well-written novel that has been turned into a great and intriguing series that reveals both less and more about each character than you learn in the book. It's a novel that has been given a second chance to live.
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To what extent does anybody control his destiny? Life is very much like falling of the edge of a cliff. You have complete freedom to make all the choices you want to take on your way down. My characters choose to yearn and not lose hope even when the odds are completely against them. It doesn't make the landing at the end of that fall any less painful but, somehow, it helps them keep a little dignity their bone broken body.
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This is one of the ways fiction is more liberating than nonfiction - I don't have to be so concerned with fact. I had the paradigm of certain people in my head who became my characters, but I never considered these people to be from a "certain sector of society," unless we agree that we're all from certain sectors of society.
