Who would have thought that a means of communication limited to 140 characters would ever create misunderstanding?
I'm pretty much a character-driven film director and my movies are smaller. I don't do a lot of coverage. I use lots of master shots.
[Hollywood] studios are handing out money to make independent films now, but they all want the same thing. They want the style and the deadpan delivery of RESERVOIR DOGS or FARGO and so they imitate those movies. They want PULP FICTION, but they get it all wrong! They get the detachment, but that's it. And then it's all about style, and in the end what do you learn about the characters? Nothing. You learn you wasted two hours.
I love accents, I would love to find more characters with a variety of vocal intonations. It creates a character. It’s like you're singing a song. Some people find their character through walking or movement — for me, voice is one of the ways I find parts of the character.
Charity should be self-sustainable. That is, it should create more wealth rather than perpetuating the cycle of poverty and dependence. In this sense, the best form of charity would be providing quality education for children and more importantly, building a good character in them.
I really feel our job as actors is to find a human experience in the character. So, for me, genre comes second; it's about script and the emotional journey of that character. Genre definitely has an impact, but it has more of an impact on the way the character is expressed. We all have the same core emotions of love, jealousy, rage - it's just how they're expressed.
Madame Bovary is timeless. It is not just about the female condition in France in the 1840s. It's not a simple cautionary tale. Emma is more than a character; she gives us an insight into human nature. With Emma, we are diving into the complexities of Flaubert's psyche.
People have reacted to the length of "Aquarius" in very positive ways. For example, at the beginning, you have people in a car on the beach at night. One character says, "I'm going to play you this great track." She pushes in a cassette tape, and they listen to about 45 seconds of Queen's "Another One Bites the Dust." You can actually see the pleasure registering on their faces, but it takes time, and audiences have appreciated that.
We can bring to characters dark and bright sides that nobody even dreams about.
I'm on fire when I'm singing, I'm completely in character, I use my sense memories, and every syllable of it is meant. It's a very special thing.
I did not want to be the accompanist to an operatic star. But I was at a very high level for a 16-year-old, and I maintained that. So really good, but more impressive than classically trained. So I had to take a crash course in classical technique because I really wanted to get away with playing this character [in Florence Foster Jenkins] without people saying, "That's not really accurate."
I'd be more interested in doing a smaller, character driven thing, rather than another action picture.
When I'm making the movie, I absolutely do. I work so hard, and out of the raw material that is the script and talks I have with the director, the writer, I create, I hope, a very specific person who wouldn't have otherwise existed. However, do I then attach and hang on to the finished product? No. The experience of the creation of the character is what feeds me, what excites me, challenges me.
I think people throughout the world identify with my characters.
I want people to feel conflicted. I want them to feel for characters they started out hating. I want to start conversations about what it means to be a parent. About the responsibility we bear to ourselves and to each other.
Over the years I have forged intimate familial ties with these characters, who are reflections of a portion of myself. Consequently, even a character who appeared only once in a short story waits now in the wings, concealed by the curtain, for his next appearance on-stage. Not one of them has ever broken free of his familial ties with me and disappeared for ever - at least, not within the confines of my heart.
Most of the time, I get auditions for deaf characters where the scene has them communicating in really convoluted ways, like reading lips from across the room when the other persons back is turned or having other people parrot what they say.
I'm a video game fan, and I always thought it would be cool to be able to control a character.
Facebook and Twitter and these other social sites bring every, I mean, 140 characters. I mean, I'm on Twitter and I have fun. But I don't think anybody learns anything about me as a person.
If you're doing something on an interesting scale that involves an entire universe of characters, one way to unite them is to have them all undergo a common experience, and there is something at Christmas that unites everybody. It already sets a stage within the stage.
The public square is more public than ever, but minds are rarely changed in 140 character bursts and by selfies.
Do you know how hard it is to play a character where youre always in heels? Oh, my goodness!
I find that, for me, it is this concept of borrowed or built life, life on loan, that gets me writing. It's similar to speaking about literature. I like it, and then I don't like it. It has such an inherent vein of pretention, because you're not speaking about real things. There's a literary pretentiousness made of speaking and spending so much time on unreal persons. And it seems, now, impossible to create an unpretentious, totally organic character.
It is easy enough to arouse in a listener a desire for what is honorable; for in every one of us nature has laid the foundations or sown the seeds of the virtues. We are born to them all, all of us, and when a person comes along with the necessary stimulus, then those qualities of the personality are awakened, so to speak, from their slumber.
We build our character as a carapace to keep away the fear of the abyss. That's what our character is for.
