Evangeline Lilly Quotes

One of the defining things about my career on camera is I like to play different characters. That gets difficult to do. People don't trust you to do something different. In animation, it's all about trust and how far can you go away from yourself. It's a really marvelous environment that's extremely creative.

Every now and then I'll do little things, a short story or something, that doesn't have any fantastical elements, but mostly I like the power of playing God and I like to imagine things.

The essayist has to follow a certain intellectual pattern. The novelist has the advantage of using fantasy, of being subjective.

With Altman, he does discuss everything with you, but then leaves you to it and gives you full rein and lets you improvise and create a character while the camera is rolling.

I love creating new characters that are whatever they are.

The idea of science fiction, mythology, and creating a world is my favourite thing. I do love the reality of dramas and playing that, but being able to start from scratch, to completely build the character and this world, I love that.

I'm a director's actor, and I surrender myself to the vision and the process. I think nothing else matters then.

The less you offer, the more readers are forced to bring the world to life with their own visual imaginings. I personally hate an illustration of a character on a jacket of a book. I never want to have someone show me what the character really looks like - or what some artist has decided the character really looks like - because it always looks wrong to me. I realize that I prefer to kind of meet the text halfway and offer a lot of visual collaborations from my own imaginative response to the sentences.

The way I'm doing it is I'm trying to think to myself, "Okay, I have the name Superman, and he's going to be a guy that deserves the name 'Superman.' I'm trying to forget about Krypton, about The Daily Planet what would I do if I was thinking it up?" I can do it any way at all..I can make him an Eskimo midget who's toothless and blind... I can do anything. It's difficult .

I look at all of world mythology and folklore as my toy to play with. There are just so many characters and creatures there I want to put on paper. It's a really exciting thing for me to take material that I really love and put a new coat of paint on it and present it to this audience. And I don't have to make up any of the characters. I can just pull a book of mythology off the shelf and say, "I'll use this guy." I also hate making up names for fantasy characters. I'll just flip through these books and say, "Wow, this is way crazier than anything I could make up".

This is one of the ways fiction is more liberating than nonfiction - I don't have to be so concerned with fact. I had the paradigm of certain people in my head who became my characters, but I never considered these people to be from a "certain sector of society," unless we agree that we're all from certain sectors of society.

With every script, I write a note to my collaborator that says: 'I write full script. But see it as a guide. You take us where we need to go any way you see fit. I tried to write something specifically for you. If you agree with my choices, fine. If not, you do what you have to do.'

That's why I don't rehearse a lot and why I shoot a lot immediately. I have ideas of where I'd like to take the character, but we both end up going together.

Working with Bernardo Bertolucci, director of Stealing Beauty was my first experience of being able to communicate with someone whom I'd think of as a mentor, who'd ask me my opinion and trust me, and believe in me and allow me to do the things that I wanted to do. The film itself was also rare in terms of character most of the scripts I've read are the story of some man, and there might be a love interest or a big woman's part.

I try to create new characters in each book I write. That's what makes writing fun and interesting for me.

I think the characters are supposed to be an open book, blank canvas.

I think Robert Altman could see things in me that I didn't know I possessed, which is really exciting. He also instilled a tremendous amount of confidence, because he would say things like, "These are the bare bones, but I want you to go fill it out. You find the character. You bring it to me. You write whatever you want." And if you had an idea, he wouldn't want to hear about it. He's want you to show it to him.

I kind of put myself out there a lot just because I trust the people I'm working with. You have to see what works and what doesn't. Sometimes it's not my job to find that out, it's just my job to do what the character calls for. And if you change the character I'll do that too.

I really like acting because you can create a character. You can make someone who has never existed before. That's neat.

I never wanted to do Harry Potter. I thought it should have stayed as a book. There are some books that should be made into movies and some that shouldn't. Harry Potter is 70% imagination. When the movie comes out, it's going to be such a stereotype for kids. When they think of Harry Potter, they're going to think of what is portrayed on screen.

The art of fiction is freedom of will for your characters.

I try to offer as much as I can to the director so he has as much to work with as possible to create the character that, really, he wants to create in a sense.

You have to take away the idea that something you do is right or wrong. I don't think there's a right or a wrong; I think there's an "it works" or "it doesn't work" for the whole. And that's why you need a director you trust, so you can just keep throwing out suggestions.

It's fun to play somebody who has no boundaries or rules. There's no book you can read on how to play a witch, so you just create a version. It's really great!

The main thing about improvising is listening so if something happens that wasn't expected and you know your character, you know what has to happen in this scene, you can react to that in a way that's honest and it might take you in a different direction to go to the same place.