Johnny Storm is such an iconic character. There's a lot of personality traits and things to him that people are really going to look forward to seeing.
Now I like to think that I'm in my character's head so much that I don't have to substitute. I'm in the moment; I'm living in the moment. And if it's genuine, it's real, and if it comes out it comes out.
From his style, you’d think Jason Brannon was the dark double of Ray Bradbury. He cares more about character and realism than most writers I’ve read and his plots flow like well-orchestrated music. Indeed, Brannon’s writing has a classical feel, reminiscent of the best traditional work in the genre, even when he’s going for gut-wrenching terror and torture in-extremis.
The great thing about the animation process is that is goes from, I write the lines, it goes to the actors, the actors bring a whole world to that, they bring the characters to life, then it goes to the animators, then it goes to the editor who cuts it together, and then you screen it and it goes back through the system again.
Certain people do need to stay in character the whole time, and that's just what they require as a person.
I don't make fun of my characters. I just like to laugh and I think people are funny and the world is funny.
My natural tendency is to fall in love with language and character and setting, and kind of forget about pacing. Narrative tension doesn't come naturally to me, and if it does feel fast-paced that makes me incredibly happy.
Although I'm not particularly troubled myself, I do have a lot of empathy for troubled characters.
I like to be absorbed in what my character's doing.
I love doing accents because it takes you one step away from yourself and allows you to embody someone else's character.
There's a whole language to movement and how you embody someone, and how you can use different techniques for different characters. I guess just posture, and the way you walk, and the way you physically are. All of that says a lot about who someone is.
The wardrobe is always the last piece of the puzzle. When you step into the clothing, that's the final step to figuring out that character.
Designing the prints was very much like writing a story with characters, [inspired by] some of my my favorite icons of the time: Eva Perón and Josephine Baker.
Sometimes I like to think that characters you play are all the other people you could've been in a lifetime.
I've grown up well, partly because there weren't great girls' literature - Nancy Drew, maybe - but there weren't things. So there was Huck Finn and "Spin And Marty." The boys characters were interesting and you lived through them when you're watching it.
I didn't have any confidence in my beauty when I was young. I felt like a character actress, and I still do.
You know, you're not aware of it, but you're following the action of the film through the body of the protagonist, you know? You feel what he feels when he jumps, when he leaps, when he wins, when he loses. And I think I just took it for granted that, you know, we can all do that, but it became obvious to me that men don't live through the female characters.
Instill the love of you into all the world, for a good character is what is remembered.
Amy Rapp, my producing partner, and I are drawn to character-driven material. We're developing and producing movies and TV, fiction and non-fiction, studio and independent, broadcast and cable, theatre, and web so our slate is really diverse.
I find that once you find the sound and voice of this character you're playing, everything else follows. It comes right out of the fingertips eventually - the physicality, the gestures, the walk - for me.
In some roles you do that very hard work where, at some point into rehearsals, where all of a sudden it snaps into place. You feel like the soul of this character is now dwelling in you.
When you have a show that's called Jessica Jones, if Jessica Jones isn't in a scene the rest of it become almost irrelevant until you earn other character storylines. You've got to flesh out those characters enough that you can travel.
I love Charlie, Billy Burke's character. Writing for him is so spectacular, he's so funny and wry and every scene he's in he just takes. There's a scene in 'Eclipse' where Bella tells him she's a virgin, and it's the funniest, most awkward scene I've ever seen on film.
To me, to spend all the time and energy and face all those creative challenges that you would spend for a two hour movie, you're inventing a world, you're inventing characters. If they're interesting enough, they should be compelling enough to go for five more episodes. How incredibly frustrating would it be to just do one movie?
When I was developing the [TV Series "Daredevil"] idea, we were really doing something closer to what was in the comic book. By that, I mean in terms of civilians in the street knew that superpowers were an everyday matter of fact. When it finally ended up at Netflix, they really decided to land it in the Marvel Universe that exists in the cinematic universe. That changes the story entirely. It was no longer about the other, which is what that metaphor was. It's really more about the character herself, which I love.
