Music is always a part of my characters' make-up.
And as much as I love the gritty characters, I like to play all sorts of characters. I'm an actor. I love to create.
There were a lot of lessons of production to be learned. On the page, the biggest thing you learn on any TV show is how to write to your cast. You write the show at the beginning with certain voices in your head and you have a way that you think the characters will be, and then you have an actor go out there, and you start watching dailies and episodes. Then, you start realizing what they can do and what they can't do, what they're good at and what they're not so good at, how they say things and what fits in their mouth, and you start tailoring the voice of the show to your cast.
Avant-garde theatre, with its distrust of the individual (that bourgeois invention), tends to go beyond [character] and the psychological approach in search of a syntax of types and characters which are "deconstructed and post-individual.
Bad guys are complicated characters. It's always fun to play them. You get away with a lot more. You don't have a heroic code you have to live by.
In the old-fashioned sitcoms, to be gay was, in itself, funny, and you laughed at the characters rather than with them.
I know there are only so many characters I'll be able to play.
Being an animator, and I've directed tons of mo-cap, which really is about how do characters move through space.
When I originally sold X-Men it was because I knew there was 40 years of stories. That was the point! Not only to do the movie and establish the characters, you know, you love the one you're doing. It was because there are all these great stories, what a wealth of drama.
When I begin a book, I inevitably discover many things along the way, about the characters, their past histories and the political intrigues that surround them. This discovery process is vital, and I would not prejudice it by deciding too much in advance
I feel like if you aren't honest and if you don't let go and ease up off of the narrator, then the story doesn't take up a life of its own, and the characters can't take up a life of their own. You handicap the story when you try to protect your characters.
I've tried most of my career to transform myself towards characters.
My first job is to write the characters as full and authentic people as well as I can.
The way I saw the characters these things just happened naturally. At the same time - and I know it's probably not apparent when you read the book - but I really tried to hold back because I didn't want it to become a cartoon.
Age, habits of business and experience have modified many characters.
I love playing these characters that are crazy tough, though. Because I am not in real life. Not at all.
Loud-dressing men and women have also loud characters.
Authors have to write for their characters, for who they are, that's the strength of books. Don't worry about censors. Just write the story you need to tell and the rewards will come.
And I always had this idea for making a movie about a femme fatale, because I like these characters. They're a lot of fun, they're sexy, they're manipulative, they're dangerous.
The main reason for rewriting is not to achieve a smooth surface, but to discover the inner truth of your characters.