Sydney Sweeney Quotes

I honestly feel it is important for a director to get obsessed with the characters.

'Longmire' is more of a show about the characters, and you couldn't pay a bigger compliment than to want to know more about my character, or the characters on the show.

I'm about my characters.

Because I never plan anything out ahead of time, I'm always in the process of learning about my characters. Without a biographical sketch to guide me, I discover things about my heroines as the stories unfold. Only in 'Body Double' did I discover that Maura's mother was a serial killer.

When you begin a play, you're going to have to spend a lot of time with those characters, so those characters are going to have to be rich enough that you want to take a very long journey with them. That's how I begin thinking about what I want to write about and who I want to write about.

We have a writing process that's very much you try to create the character in a complicated way and then you let the story lead you to discovering who the character is in a natural way.

When you're doing a series, you're really in a zone. You're thinking about those characters and their situations in a free-floating way all the time. They live with you all the time. So it's just as natural as breathing to be having ideas and thinking about what they're thinking about.

The people I write are real to me, and basically, they tell me about their environments on a need-to-know basis.

Sometimes the director will want you to write about the character, sometimes he'll want you to live in the location that the character is from or something like that, but I don't usually make a lot of notes or anything like that.

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

The fun thing about doing origin stories is you are introducing the audience to characters.

I think it's important that a director be able to know his characters inside and out.

I locate that special problem in a character and then try to understand it. That's the genesis of all my work.

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

Never argue with your characters; they know themselves better than you do.

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

I seem to have to make my characters family before I can access their hearts in any way that matters.

I spend a lot of time with my characters.

I don't plot my novels - I move along with my characters.

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 wanted more in depth ideas about the character and it never came.

When you get into a film, it is one story and one set development of a character, and you are able to delve into one character for a short period of time and discover everything about them.

My characters surprise me constantly. My characters are like my friends - I can give them advice, but they don't have to take it. If your characters are real, then they surprise you, just like real people.

I always find that really interesting, you know, when I get to see characters that I love in TV and film and theater around their family.

As an actor, you want to be able to move your character forward into new ground, but also it's really interesting to go backwards and unpeel those layers and the interesting elements of what your character is and what informs the decisions that you make so that you can have as much meat to work with.