Character Quotes - Page 505

One of my biggest pet peeves is that I just don't like it when characters do things that are funny to the writer, but you don't know why they're doing it and it doesn't make any sense.

I have the belief that truly evil people, it's a genetic evil. I only have the experience of exploring the landscape of some of the characters I've played that people have labeled as evil; I don't think they're evil.

I don't have the body or the face for romantic comedies, so I've never been offered those. The challenge is that a lot of people see you only as your last character, so you're constantly competing with whatever your last movie was.

I love Ron Howard, he's a wonderful director, incredibly prepared. But I have to criticize my performance in that movie. It all took place in one day. My character was having a bad day, so she's having a bad day throughout the whole movie. But this was a comedy, and I think I was too serious, too dense. Yes, I think that describes my failure there.

So I'm always inspired by my fellow actors. And that's kind of a constant for me. I have huge respect for our profession and our craft. And I seek in my work to create connections, first for me with the character and then the character with the other actors, and then ultimately, all of us together connecting with the audience in a way that sometimes is subliminal, even.

The basic idea is that there is this group that, over the centuries, has learned to control reincarnation. John's character stumbles into that realization, and it's a lot closer to him than he would ever have wanted to know. It's a metaphor for when you get in a fight with your significant other and you go, "Who is this?," or you look in the mirror and go, "Why did I say that?" It's the intruder. When you threw a temper tantrum at two years old, it's them.

I think it is an intelligent story [The Intruders]. You've got adult characters who are in search of some things that are out there that we sense are out there, but we don't have any proof. John's character stumbles into that situation.

You really have to do your job as a writer and push people to be as creative as possible. What's nice about the TV medium is you have such a connection to the characters that when somebody dies, the audience cries. They really feel it. You really don't cry when someone dies in a horror movie.

The comic book, and I've said it before, is a treasure trove. It's a grab bag. We certainly have characters and story lines that we really want to do - but to get there in a TV series, you have to take your time. Sometimes you can't get right to it. They're two different mediums. So we make it our own and really own the material. I like to think of it as an alternate universe.

The only characters I've made to resemble real people have been grotesques.

It's a challenge to work a character's arc into a format in which you only have a very limited amount of time to grow and develop a character.

I’m a better person in a relationship, and I’m a happier person. I need to come home at the end of the day and have it not be about me and my freaking hair and makeup and character motivations anymore. And I think my work is more inspired when home is safe and sound and solid, because what I do for a living is so bananas and so insecure.

I think of clothes a lot like costumes. I think of what I wear in real life as being my real life character's costume.

What we were most hoping to achieve with Shots Fired: empathy for all of the characters and conversations about our criminal justice system, which is broken on every level, from the street all the way up to the highest level of government.

My parents put me in sports when I was 5 years old, and they put my sisters in sports. So that's what I grew up with, that mentality: "It's OK to want to be the best. Aggression is good." You have to have that little walk on the court or down the track. I love to put that into my female characters, because I don't think enough girls are taught that at a young age.

I'm pretty good at fleshing out characters. I like to crawl inside their minds and imaginations and sort of loll about. Sticking to a clean narrative arc gives me some troubles. I've been told that I'm digressive and I'd have to agree. The odd anecdote that in no way relates to the "big idea" is just as illuminating and fascinating to me as anything else pertaining to the through-line.

It's hard because I seek out strong female roles. I turn down a lot of stuff, not because it's not good, but because I don't want to play certain types of characters. I don't like to just play the pretty girl.

When I'm watching TV, I'm always drawn to those female characters who are doing something that I would want to do.

In acting, you get to explore such an artistic side with different characters to research and learn and explore different things inside yourself and I do that anyway, so I might as well be doing something that I already do, as in a second nature to me, on film.

Fans believe they have a relationship with you, either through your TV character or, more reasonably, through the tweets you may have exchanged. In a way, you have gotten to know them. You learn about people's kids, families, pets.

Dan Harmon has this idea that characters on TV are allowed to talk about their favorite movies and TV shows and songs.

I think that it is important to establish a world of place for the characters in improv and there is nothing to be gained from disagreeing about that. So you have to establish the principle that if some person establishes one thing we're all going to go along with it and that we are all building from it.

People focus on the darker female characters in my books, but for every one of those, I can also show you an equally screwed up man that no one ever comments about, or a nicer woman that no one comments about.

I like the discipline of writing a script. You can't go into the character's head - you have to find these creative ways to help externalize what they're thinking.

Sometimes having a big amount of time is a gift, because by the time you're at the end of the run you feel like you've figured it out finally or discovered everything you can about the character. Sometimes that's not the case.