Rachel Cusk Quotes

For me it's always about first impressions. I trust my instincts. I love to prepare if it's something that requires training. But I don't like to prepare the psychology too much. I enjoy the psychology of the character but I work better from a first impression.

Where there is righteousness in the heart, there is beauty in the character. When there is beauty in the character, there is harmony in the home. When there is harmony in the home, there is order in the nation. When there is order in the nation, there is peace in the world.

Acting is a question of absorbing other people's personalities and adding some of your own experience.

This idea that a book can either be about character and feeling, or about politics and idea, is just a false binary. Ideas are an expression of the feelings and the intense emotions we hold about the world.

You have to understand the tone of the movie, because if it's supposed to be funny, it can be funny violent like the Home Alone stuff, but you have to really understand the tone of what you're doing and make the action work for that and for the character.

I don't know if I do anything to get into character: I just go with my gut.

We need to become more acutely conscious that words matter. None of us would deny that ideas and opinions matter, but we can sometimes be careless about how we express them. The words we choose to advance an idea, opinion, or point of view have a huge impact on how people react and respond to that view. When we use hyperbole, we increase the chances of being misunderstood and of promoting equally exaggerated counter-reactions, especially when people are reacting almost instantaneously.

I'm not accomplished enough to over-analyze something, because I don't have the background as far as people who write and know how to break down a character or story and stuff. I mostly go by gut instincts.

Dialogue's a method of revelation, of course. A few words of dialogue can reveal worlds about a character.

Amazing what the British do with language; the nuances of politeness. The world's great diplomats, surely.

It's kind of amazing; I don't know anything. It's an interesting way to work where you're living in the moment and making decisions for your character in the moment. You have to go with your gut on everything - try not to over-think things. That tends to make me doubt what I did, but then that's always the case. I'm a worrier. I have to accept that and just be a worrier.

I like bringing little subtle complexities to a character. It's all about the subtext. No one can really describe or fully know another human being, even if they get a hook on them. It's more about instinctively knowing whether you like somebody or not.

Mostly the natural landscapes work as a sounding board for my characters, so they can understand themselves, and it acts as a mirror in which we readers see ourselves. The natural world is the place into which all my characters have to situate themselves in order to be who they really are, and that makes my rural fiction feel different from a lot of urban fiction.

I don't judge my characters, and that's my job not to judge them.

I am convinced more and more day by day that fine writing is next to fine doing, the top thing in the world.

I'm not a method actor, I don't write my character's history or all those kinds of things. I'm more about the 90 percent of the brain that is subconscious. I like to just pick certain pieces, let it soak in, and then let it kind of emerge out.

Once you know the world you know how your character fits into it.

When I was younger, I wanted to guard myself against criticism, so I did so much more work than was needed. Now, though, it's sometimes better to understand something intuitively than have to dig your way into a character.

Man is effective in the world not only through what he does, but above all through what he is.

I very comprehensively studied Irving Thalberg and his biographies. He's who [Scott] Fitzgerald roughly modeled the character after. He worked for him, as a writer, when he was at MGM. And, of course, I revisited the novel and the politics of MGM and the studio system at the time and familiarized myself with the world. There was a great deal of physical and literary work that went into it.

Bill [Condon] is such a great actor's director. He cares about what you're thinking. And, he's very open. Even though he was pressed for time, and he was doing two movies at once, and all this stuff was happening around him, he would still take time to sit there and talk to you about your scene and your character and what you were going through. That was really a treat.

I sort of have the belief that you work being your character out while you're working on it, or that's been my experience so far. I throw myself into it 100% and try to live in that world, and then when it's over, just sort of be able to leave it behind.

The inspiration really comes first from the character and the story. That vision of what the story is, and what the character is, the world that they inhabit and what the story wants to tell. That's really what inspires me.

Every single character in the world, every creature in the world has something to give and something to learn.

I think at some level, it's just alchemy that we, as writers, can't explain when we write the characters. I don't set out to create the characters - they're not, to me, collections of quirks that I can put together. I discover the characters, instead. I usually go through a standard set of interview questions with the character in the beginning and ask the vital stuff: What's important to you? What do you love? Hate? Fear? .. and then I know where to start. But the characters just grow on their own, at a certain point. And start surprising me.