The pleasure of writing fiction is that you are always spotting some new approach, an alternative way of telling a story and manipulating characters; the novel is such a wonderfully flexible form.
I was happy that I finally could play a mature woman, because I started working when I was a teenager and was always playing characters according to my age.
Pedro Almodóvar asked me to watch italian films again as homework to look at the energy of all those women from the Italian neo-realist films. A lot of them had those characters that represented motherhood. For some reason, in the '50s in Italy, the mother figure was very important - and my character needed to have that energy.
There are great characters on television.
As a woman, she [Penelope Cruz] obviously has changed as she has become an adult. But, as an actress, I actually might say that she has not changed that much. And she has something great, especially in comedy, and she hasn't been exploited as much as she could be in comedy, but particularly in that mix between comedy and drama. She's got a very special quality about her. You can place her in very extreme situations, especially very painful situations, in terms of how her character interprets it. And sometimes, the deeper and more human that pain is, the better she is at it.
When I got to the end of this play, I realized I was trying to make Angel do something that had not been justified by the characters and by their story . . .. I kept trying to force it, but that doesn't work. So I had to come to terms with what it meant for me to create a character who doesn't triumph.
Physically, my character is stronger than him which is totally unrealistic, ... Because in reality he can ... kill me. I think it has a lot to do with (him being) the youngest of all of his brothers, and I think he got beat up a lot.
There's a lot of me in it. But the character is more egotistical. I'm also egotistical, but not the way the character is. This guy is successful, he has everything, but his wife has left him. The most important value - love - is missing. What is wrong with this institution called 'marriage'? What is wrong with this institution called 'the pursuit of happiness'?
What I can say is that all my characters are searching for their souls, because they are my mirrors. I'm someone who is constantly trying to understand my place in the world, and literature is the best way that I found in order to see myself.
One of the marked characteristics of the U.K. security industry as compared with defence is the lack of company scale. This can put our firms at a competitive disadvantage when it comes to big contracts.
I love working with new directors. There's so much drive and effort. It still comes down to the character for me, but if it's a character I really want to play, I would never not do the project because of a new director.
Anne DeGrace is a gifted story teller and Far From Home contains some of her most intriguing characters. Thoroughly enjoyable.
If you're lucky enough to get to play a character for a long time, it's life-changing.
I have been working up until recently with Neil Simon, who has been adapting the character to me.
I always run the stories by Capcom. They read the scripts and give their comments. I would never want to kill a character that they really want to use in the next game.
I think "honest" sometimes gets used to describe a real depiction of real life. I don't think that's necessarily what we're doing. We created these fake characters and we're just trying to figure out what they would do in situations they enter into.
Just the way LA is laid out - 30 miles of disparate neighborhoods - adds to the loneliness of the characters. There's a lot more space to feel isolated in. In Los Angeles, you have to meet the person, then walk out separately to your own cars, and follow the person to their neighborhood, and then pray that street parking isn't going to mess things up.
There are lots of things that you can go down the list and say, "Oh, these are cliches, we've seen this before, just hits every checkpoint." All of that takes a secondary status for me if I'm reading something and I just really like the characters.
I wasn't a great improviser when I started there; I'm not really up on current events. I would always just mug, just try to get my laughs from making faces. So I decided to do a character who should never have become a comic - somebody you would see at the Comedy Store and go, "This person is never going to make it."
I did do, well before Pop Art, all the cartoon characters as paintings.
I began to analyze the movie [The Day the Earth Stood Still] and said it was really made out of these two characters [Nikola Tesla and Leon Teremin] who were brought together. That made it fascinating to me. And especially the language they made up, that Klaatu speaks. Because it has a Latin word order. It's like medieval Latin, but it had some Navajo phonemes in it and that kind of stuff.
[My father] was always saying I'd end up like my grandfather. Okay. My grandfather was an architect, I'm an architect. It's true, certain characteristics are similar.
Now, it’s true that some of the protesters are oddly dressed or have silly-sounding slogans, which is inevitable given the open character of the events. But so what? I, at least, am a lot more offended by the sight of exquisitely tailored plutocrats, who owe their continued wealth to government guarantees, whining that President Obama has said mean things about them than I am by the sight of ragtag young people denouncing consumerism.
Unlike life, you've got more or less complete control over what's going on in your stories. That's not to say you can make characters do whatever you want them to - they usually have a life of their own if you've done your job properly.
When I started to allow the characters to go where they wanted to go, I just had to follow.
