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I never like to refer back to anything I've done when I'm working on a character, even if that character has the same occupation.
When I listen to my scene partners and listen to their breathing allows me to be connected to them in scenes. I am not trying to multi task, not trying to talk on the phone, but in my character.
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.
Who can doubt that between the English and the French, between the Scotch and the Irish, there are differences of character which have profoundly affected and still affect the course of history?
By the time [John Adams] came to write his Defence of the Constitutions of the United States in 1787 he had as dark a view of the American character as that of any critic in our history.
I don't like making a film and having the actors in character too much in magazines and on the net and everything else. Because you want to keep something back.
My character on 'The Good Wife' is a smaller character, and his story arcs are typically season-long, unless it's a big episode for him. His transitions take place over many, many hours.
A character, their ability or inability to laugh at themselves should always be a very, very conscious choice. It's a very big key to the nature of a human being.
Unlike novel characters, comic book characters last an eternity. When a character is changed beyond recognition, there's no longer the merchandising aspect.
I think any writer coming on to Batman should at least attempt to do their own definitive version. What it means to them. Whatever they think that symbol or character can say.
You really have to be a character to serve it properly. Obviously, you're acting, but you have to have those things in yourself, whether it's the experience or the same qualities.
I feel this way about a lot of movies, that the characters are idealized versions of people. For better or worse, I am as fascinated with human flaws as anything.
My favorite kinds of stories are the ones that have these big crazy genre hijinks and then a real honest, meaty, emotional story where we're watching a character grapple with some real things.
With Mass Effect we said, "Let's reflect the fact that you can be almost anyone, do almost anything, but..." In our minds, we always felt the character was iconic.
The principal object of your reading should be for the acquisition of useful knowledge , and the strengthening, refining, and ennobling of your character.
Sometime female characters, especially in the genre of something that people consider rom-com, make mistakes in a cute way or they're a mess in a way that's palatable. I like that.
I find it really hard to throw myself into something artistically where I'm making up a whole character and finding something for that character to do.
I'm a big fan of the Harry Potter books, but I'd love to do one where one of the kids dies, or one of the main characters dies. I love for those things to have a little bit more tragedy.