I think it's impossible to get any movie made, let alone a character story. Even with big stars, which we had, there were challenges. But we got through it, and we're really happy that we made the movie. It's easier to make giant robot movies, but I'm not in that game.
Dictators are ludicrous characters, and, you know, in my career and in my life, I've always enjoyed sort of inhabiting these ludicrous, larger-than-life characters that somehow exist in the real world.
Roger Casement is an intriguing figure - humanitarian, Irish revolutionary, gay - and much had and would be written about him, there was something about his character as a conflicted man, an Irish Protestant who spent much of his time representing England in different African nations, a gay man who, true to the times, kept his sexual orientation to himself, that kept playing in my head. I read on and around him, but a historical figure is not a story - it's not even a character - so my story, the one that I would develop into Valiant Gentlemen, had yet to reveal itself.
Every book presents its own specific challenges, or should, and you're right that this one has a preoccupation with uncertainty. In this, Valiant Gentlemen is a rupture from previous work as its obsession is with the psychology of characters who are in states of unknowing living in unpredictable times where the stakes are unusually high.
Richard Gavin is one of the bright new stars in contemporary weird fiction. His richly textured style, deft character portrayal, and powerful horrific conceptions make every one of his tales a pleasure to read.
Character acting is a much braver pursuit than a guy who runs around and intermittently clenches his jaw muscles.
It's tough. It's very tricky to throw a morally flexible character onto the screen and have an audience empathize. It's always an exercise in restraint.
The job of the art is to really convey and support that empathetic response. I always try to find where the character is mushy, and then bring that to the forefront.
You cannot have your news instantly and have it done well. You cannot have your news reduced to 140 characters or less without losing large parts of it. You cannot manipulate the news but not expect it to be manipulated against you. You cannot have your news for free; you can only obscure the costs. If as a culture we can learn this lesson, and if we can learn to love the hard work, we will save ourselves much trouble and collateral damage. We must remember: There is no easy way.
Funny story: I was hanging out with Adam Shankman for Samantha Ronson's birthday, and Lance Bass was there. I don't really know Lance, but he comes over to me and goes, 'Hey, I just wanted to let you know I'm a fan of 'Pretty Little Liars' and I'm rooting for your character.' It was surreal! That's how 'PLL' has changed my life.
I try to play characters who are different from myself, so I feel like this character is someone who is really different. I actually think that if I did what he did in this movie, I would get a restraining order put against me.
If you're making a movie about the effects of time, you kind of have to engage time as the main character.
I think that you can sort of have your own personal journey and you know, you can just kind of apply that to whatever characters you're playing.
I know there are only so many characters I'll be able to play.
I just have my own taste, and I just try and stick with that. I'm just trying to play as many characters as I can for as long as I have an opportunity to.
Whenever people get to see you, it's a great thing. Once people see an image and see the character, they can get into the music a lot more.
For character, to prepare for the inevitable I recommend selections from [Ralph Waldo] Emerson. His writings have done for me far more than all other reading.
Every actor turns everything round to their character.
I'm drawn to damaged, complicated characters.
For me, there is a stigma attached to playing beautiful parts. They are often empty characters whom the action happens around. I'm more drawn to characters with a complex internal life, who have a burning frustration underneath that keeps them going.
I love complex characters - strong females who are vulnerable but have a life and soul. That's what I'm drawn to and what I enjoy most.
How in the end can one possibly hold anyone responsible for our own underdeveloped visions, or undeveloped strength of character?
I really do literally put myself into a character's shoes.
I read mostly science-fiction and fantasy when I was a teenager, and I was always drawn to stories where the characters had telepathic powers.
My God, that scene in Monster Inc. where the monsters realise that their entire world is founded on hurting children -look at that for a change! Two galumphing cartoon characters making a shattering realisation about their world and their role in sustaining it. A truly epic moment. It's stunning.
