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The best of my songs are more than just a joke. There's something else going on - a character, or it's not just a plain joke.
Not long ago I made a list of Doc Ford books I would like to do, and I came up with 11 pretty easily. I like to let the characters go their own ways and see what happens. I find them fascinating.
I don't really mess with Instagram much, but I get why people love it. Because to me, it's better to tell a story through a picture than 140 characters.
I enjoy creating and developing characters, as well as situations. But I have always had more ideas than I can ever put down on paper and fantasy allows me to include a lot of what I feel.
I suppose the reason why I like acting is because I'm curious about human nature, and the less I know about a character on the page, instinctively, in a way, the better.
When I first got the job, I was told nothing about my character. She's an anthropologist and she's tough, she's a female Indiana Jones. That's what I went into [Lost] knowing.
Every work coming from the creator is about getting the demons out, and each character in those stories had a different personal crisis to get through.
I create my own backstory regardless of if I'm told something about the background or not. There's always more that you can develop in your head that makes a character more layered, more honest.
When you look at "American Crime" and you have the character Terri LaCroix is a pharmaceutical executive - why does that character always have to be white?
But on stage you're able to just take the character from one point to the end and it's a fluid, organic piece. It's about being completely present all the time, right there in the moment.
For me, the lives of children and teens are interesting - they are always changing. There's just so much to sort through. All of this makes for good plots and complex characters.
By the time a writer comes onto a project (if they're being hired as a contractor) the main character has usually been designed, as that's always done during a project's pitching stage.
You've got to have a likeability factor, I think, in your comedy characters. If the guy's really, really funny but you just don't like him or her, then you're never going to root for them.
Sometimes you even start to sound like the character, because you're living and breathing them every day on the set. It gets into your bones, it becomes a part of you.
Schneider's characters, like Kundera's, are sentient and sophisticated figures at a time when the constraints of Communist rule persist but its energy has entirely vanished.
I'm not one of those people who as a writer lets my characters tell me what they want to do or call to me or seek me. I go seeking for things, using them as an agent, really.
I would love to be in the position where the role is challenging enough that I need three months to prepare for it and then six months to live the life of character.