Also expressionistic filmmaking - making the audience feel like they were inside the characters' heads. And so we create all these different types of techniques to put the audience there.
I look at rap as an opportunity to act. My head is full of different characters - in each song I'm auditioning a character.
I'm sure there's pieces of me in all the characters I play.
I'm always being asked to play roles or characters that I don't really resemble.
I created the characters from what I read in the script. I decided how I should talk, accent, no accent, my own voice, or a created voice. Then, I visualize what I should look like.
Outside books, we avoid colorful characters.
I never get the tall, blonde, glamorous roles because I'm not tall, blonde and glamorous. I'm more the wee, disturbing characters because of the way I look or sound.
Over my career I played some badass characters. So, people sometimes think I should have a. 44 magnum. But that's not true, I don't have that. But I do fire them and I do enjoy target shooting and all that sort of thing. I'm not much of a hunter. I don't like killing animals, but I love to shoot.
You cannot base a whole movie on just the imagery alone. It has to be the story and the characters.
I had an obsession that I was male characters from movies.
I can write anywhere. I made up the names of the characters on a sick bag while I was on an airplane. I told this to a group of kids and a boy said, "Ah, no, that's disgusting. " And I said, "Well, I hadn't used the sick bag. "
Over the years I have forged intimate familial ties with these characters, who are reflections of a portion of myself. Consequently, even a character who appeared only once in a short story waits now in the wings, concealed by the curtain, for his next appearance on-stage. Not one of them has ever broken free of his familial ties with me and disappeared for ever - at least, not within the confines of my heart.
As an actor, I think it's always important to separate yourself from your characters because, when you include yourself in a character, you're taking a liberty that you don't really have unless you're life is that incredibly close to the character.
The difference between fiction and journalism is that you can disguise the characters, so you won't get your legs broken, and there's no interview tapes to transcribe.
I do what I do because of Walt Disney - his films and his theme park and his characters and his joy in entertaining.
In fact, not knowing is a necessary condition of writing for me. I don't know how else to reach something unexpected. I have to be as in the dark as my characters.
What characters do must grow out of who they are, and who they are is, in turn, influenced by what you make happen to them.
A well-chosen complication should give you choices. Juggling choices for your characters is what makes writing fun, after all. If you discover that you're struggling more than you ought to with a draft, perhaps you've run out of interesting choices, or have given yourself too few choices to begin with. Go back to the complication, fatten it up, and start over.
I'm always interested in characters who are closed down, but who open up when they choose to, rather than when they're obliged to. I think that's a very appealing thing, for an audience and just in life. I like the idea that something will say nothing, and then get straight to the point. That feels like how your heroes should be.
Sometimes your characters in films do things that you wouldn't do. You're not playing yourself all the time.