You can actually improvise a lot as a voice actor. It's not that entirely different than shooting a live action movie; the characters mouths are quite easy to manipulate once all the information is built into the computer. So you can improvise a lot and it doesn't matter really how far along they are in the process they can really just make the character say something different.
I think people do get better as the movies go on sometimes, and I'm always happy that we're shooting out of order, so it's kind of scattered throughout the movie, and there isn't like a clear build in everyone finding their characters.
Those are the movies that we [with Evan Goldberg] always wanted to make. Pulp Fiction, Reservoir Dogs, the kind of movies where violence and comedy and characters kind of work together really well.
I was about two years old when I first started drawing recognizable characters.
Character I want to be: "Blunt Talk's".
Even if you know a character really well, there's no formula for what jokes will work and what won't.
If a movie has more characters than an audience can keep track of, the audience will get confused and lose interest in the story.
Movie characters rarely get to think out loud or talk very much about their emotions. Instead they have to, very briefly, show their feelings through their action or through dialog.
I always say that the characters in Jane Austen's original books are rather like zombies because they live in this bubble of immense wealth and privilege and no matter what's going on around them they have a singular purpose to maintain their rank and to impress others.
If a novelist has created vivid characters, interesting relationships, settings the reader can easily imagine, and intriguing stories, a screenwriter has loads to work with. The challenge comes with deciding what to cut and what to keep.
Most men have no purpose but to exist, Abraham; to pass quietly through history as minor characters upon a stage they cannot even see
Some novels present a story form many points of view. Most movies tell only one person's side of the story. Sometime it's easy to use the strongest point of view, or find the character with the most dramatic experience. It depends on which themes the scriptwriter wants to explore.
I like to approach comedy from character, to have the stakes for the individuals in the story be very high.
A favorite film of mine is 'Office Space' and I love 'The Hangover.' That is a really good comedy from character in that film, and that is true of 'Office Space' too.
Reputation is what people expect us to do next. It's their expectation of the quality and character of the next thing we produce or say or do. We control our actions (even when it feels like we don't) and our actions over time (especially when we think no one is looking) earn our reputation.
I was always prepared for my Fringe journey to end immediately. I had only signed up for a guest role but they kept bringing me back in the third season as a recurring character. So pretty much every time I went to film a 'Fringe' episode I kind of said goodbye to the show, but then they kept bringing me back.
The more you spend time with a character, the more you see different nuances of that character.
Fringe' was the first time I realized that I could ever man up in a character and make this transition from being a boy or a young man into actually being a man.
What I do is give Ennio Morricone suggestions and describe to him my characters, and then, quite often, he'll possibly write five themes for one character. And five themes for another. And then I'll take one piece of one of them and put it with a piece of another one for that character or take another theme from another character and move it into this character.... And when I have my characters finally dressed, then he composes.
Not to say that the process assumes anything of "greater" or "lesser" importance, though: it's just more graphic information. Take the surrealists, for example, or a work by Cage. For me, there's a great value in doing this with literature. There's a certain form of dependence; process and product inform each other, depend on each other. I consider myself a writer who doesn't write with a style, almost. I begin with tension, with a vibe, a character.
A comic book is the opposite of a cartoon. In a cartoon, you want to simplify the idea, so when they look at it at a glance, they get it. Boom. Simple. Direct to the point. But when you're drawing Groo, now it's a narrative, a story. You want the viewer to get involved in the story. You want him to feel like he's in the town to follow your main character. So I love to add lots and lots of things in it. Things that people will enjoy going back to and say, "Oh yeah, that's how a market must have looked in this fantasy world, with people selling meat here and dishes here."
I suppose that literature as it is won't die, science fiction included. But games are becoming an extremely important part of the science fiction world, including games that are adapted from books (or vice versa: books that are adapted from games). It's wonderful to have the opportunity to play and see your favorite characters on the screen, but the opportunity to read a book does not become less attractive.
Success gives the character of honesty to some classes of wickedness.
I'm a working actress able to make choices based on characters rather than what I 'should' do for my career.
I think when you're playing a character in any film it's so crucial to have the costume that makes you feel like you're going to be that character.
