Laurence Fishburne Quotes

As actors, you don't actually need to know the future of the character. You just need to know the backgrounds.

I know all actors are different, but I've never sat down and asked the writers, 'Where are we headed? Am I good or bad?'

Well, first of all, you read the script a million times. Because what the script gives you are given circumstances. Given circumstances are all the facts of your character.

You can really help support a character if you understand the setting. So for that reason I generally write about Philadelphia.

I live intimately with my characters before starting a book. I cut out pictures of them for my wall. I do time lines for each major character and a time line for the entire novel: What is going on in the world as my characters struggle with their problems?

I try to begin with a strong grasp of my characters. Even if it's schematic, I need it clear in my head who these people are.

I've got to write about my character every day. I've got to find out where he lives, what bus he catches to school, and stuff like that. You've got to know every little thing about him so when you do it, it feels natural.

I'm about my characters.

Usually when I'm trying to establish character, I try and find out where they live.

Don't set pen to paper until you know your main characters inside out. Create files detailing their appearances, likes, dislikes, and personal background. You may not use all the information, but it is a crucial step in planning your story.

For me, I always have to establish a reality for the character. In very actor-y terms, you just have to understand his reality.

I think you've got to understand your character and where they're coming from.

I like to enter my characters through a physical form first. The first thing I find is the regime of the character - when he wakes up tomorrow, what activities does this person engage in - that's my entry point. Once I get that, then it becomes easy for me.

My preparation is mainly just knowing the lines and getting in and knowing where your character is, knowing what it's about and having ideas that you can put in on the day.

It's much easier to come back as a recurring character. Because you already know his traits and who he is and what he's about.

Now there are certain things you have to prepare - like dialect and special skills. But in the moment, interaction between two characters on the page doesn't need - for me, I don't need to prepare that.

Because characters are your creations, you are the one who ultimately gets to decide their fate.

You try to get to know your character as best as you can before you start filming - what's written and not written.

Normally when I'm sent a script I'll read it through to see how it hangs as a story and then I'll go back and read it through again and look at the character.

You've got to leave the reader with more than just a name and a costume - they need to know who the character is, what they're like, what kind of attitude they have, what sort of role they play.

I try to research or make up for myself what happened in any character's life. From when he was born until the first page of the script. I fill in the blanks.

Don't start writing your novel until you know your characters very, very well. What they'd do if they saw somebody shoplifting. What they were like at school. What shoes they wear. Spend days - weeks, months - being them until they thicken up and start to breathe.

Every single film I've done, it's about the character.

I tend to come up with people more than situations - most of my books start with a character.

My school of thought with going into a character is that you have to understand where they come from, and you have to empathize with them.