I don't judge the character at all. It's a bit like being someone's defense lawyer - you have to believe in their innocence in order to defend them.
It's really hard to make a good film; it's really, really hard. So, the director's very important, and a character that can be described with more than one or two adjectives, maybe with contradictions. Contradictions are always good because that's truthful.
I laughed. It was just like Owen to make excuses for someone else’s shortcomings. Even fictional characters. Owen found my tendency to speak my mind “refreshingly honest,” and hailed Marc’s temper as “a deep protective instinct.” He said Ethan “thoroughly enjoyed life,” and that Parker “really knew how to have a good time.” According to Owen, we were all doing just fine, and all was right with the world.
You know, I have some issues. But I just love to play different characters all the time, and I try not to repeat myself too much.
I shy away from plot structure that depends on the characters behaving in ways that are going to eventually be explained by their childhood, or by some recent trauma or event. People are incredibly complicated. Who knows why they are the way they are?
It's really a misconception to identify the writer with the main character, given that the author creates all the characters in the book. In certain ways, I'm every character.
I begin a book with imagery, more than I do with an idea or a character. Some kind of poetic image.
I do study Marcel Proust, for multiple technical virtuosities but also his swerve, as you say, between characters and in scenes. Certain films can help for that, too, in terms of understanding how multiple conversations at a table, or in a room, can take place and remain separate, and dissonant, and also gather themselves, accidentally, into a collective rhythm and an affect.
It's really a misconception to identify the writer with the main character, given that the author creates all the characters in the book. In certain ways, I'm every character. Then again, there is a huge gap between me as a person and what I do in the novel.
I was a child but weirdly uninhibited. I talked to people and inserted myself in all kinds of absurd situations. I think some of those life experiences influenced me in terms of the main character of The Flamethrowers. But for the parts where the community of artists are speaking above her level of participation, that probably came more out of my experience of being in New York in the '90s as an adult.
The novel is a big space, and a lot can happen. Just think about the parts of your life. How do we account for our own contradictions? The only way to understand them is to let them exist, as truths that indicate something about character. People are built of elements that don't fit together - and the conflict of that is their essential drive.
There are certain types of slightly hysterical human characters who, rather than creating, walk around with a sense of their own potential - it's as if they themselves were art objects. They feel as if their lives are written narratives, or pieces of music.
A sentence is born into this world neither good nor bad, and that to establish its character is a question of the subtlest possible adjustments, a process of intuition to which exaggeration and force are fatal.
Usually my characters, though young, tend to be street-wise.
The love and support from the Witches of East End fans continues to blow us away and renews our faith that storytelling matters, strong female characters matter, and messages about faith and hope matter. I love this family. I love this story. And to be part of a show that has inspired and touched so many people's hearts is a true blessing.
I really like working in television and I like exploring a character over a longer period of time, and I like the consistency of television.
I'm a huge fan of good, procedural-type shows on television... there are a lot of roles for women. But there aren't a lot of great network television roles for girls that will let you start a character in one place and finish up with her in a totally different one.
I'm just in profound gratitude that we get to go back and work on a show that we love, with amazing actors and great writers, and be a part of the Marvel universe. As with all of the characters in Jessica Jones, Trish has an alias.
Often, as a young actress, you find yourself being the only girl in a room full of men... and one of the reasons why I like 'Grey's Anatomy' is because they have such strong female characters and the women really drive this show.
My record label, which is a huge record label who represents massive, massive stars - they've never done anything like this before, and they were so excited about this idea of an animated character which is singing legitimate music. It's not a comedy record, it's a legitimate record. And they really jumped on board. So, we've got our Facebook page up, we'll be jumping on Twitter very soon, and sort of be creating Haley outside of American Dad.
As the actors on the show we rarely get an opportunity to, as I said we get the scripts the night before but we have great producers on this show, so every once and a while matt or mike will say "I want to take the character in a different direction this season, what do you think about this?" and we do sort of get to add to it and feed it.
It used to be embarrassing. In the beginning, because you listen to yourself so much, you think, I must look like an asshole right now - or sound like an asshole. And then, you just get to that point where you've done so many ridiculous, ridiculous things in the booth from screaming, to having orgasms, to whatever your director is asking you to do for this character, you just lose your inhibitions.
In my early 20s, I didn't even know what the Groundlings was. I had no idea. But I know how to break down a script and work on the character.
I told my agent which women I aspire to have a career like: Frances McDormand, Kate Winslet, Laura Linney and Emma Thompson - character actresses who have something to say. I also said that I loved Madeline Kahn and Jessica Lange.
I'm trying to make all the characters change and grow, or regress.
