Morgan Brittany Quotes

In film, because you know where the ending is, characters can change, but in television, you substitute revelation for change, and that can be hard to pull off.

Every film you're commissioned to write is all about an arc; usually, the arc is that the world creates a change in the character, usually for the better. To not have an arc, the messages and ideas in the film became more prominent.

I've often said the reader knows every bit as much about Thorne as I do. When I created him for 'Sleepyhead,' I was determined he should be a character who would develop, book by book, change and grow as we all do, and who - crucially - would be unpredictable.

Not all series books are sagas. Some are shaped more like beads on a string, separate episodes held together by a set of characters, who may or may not grow and change as the series continues.

I think everybody goes through changes, and the same should be said for fictional characters, especially ones that you follow on television.

My life needed to be saved. Not just Foxy. That's my character. That's my work. Inga is a person.

If somebody from the past doesn't rise up from the grave and start talking to me, I haven't got a book. I have to hear that voice, the voice of the narrator. How she sounds will tell me who she is, and who she is will tell me how she will act - and that starts the plot in motion.

Novels demand a certain complexity of narrative and scope, so it's necessary for the characters to change.

I love the long-form format of television. I love being able to develop a character, over a long period of time.

When you do films that have multiple sequels, you develop a character for a film.

I love seeing a story evolve over several books and watching characters develop.

Film is so much to do with perfection and how differently you can feel about someone at the beginning of the film and the end of the film.

I like my characters to be ones I think about long after I've finished reading the script.

I think what good television does well is that it shows characters evolving.

My character on 'The Good Wife' is a smaller character, and his story arcs are typically season-long, unless it's a big episode for him. His transitions take place over many, many hours.

I'd never really been in a series, where you see a man at different points and perspectives in his life. Usually it's a film, where I'm playing a character who just comes in and offers something up.

You can't take a character anywhere they don't expect the character to go. But within those confines is where creativity lies.

That's the main thing that attracts me - characters who have big journeys. I like playing those people.

As an actor, you always want to feel like what you're doing is making a difference to the story.

There's something really satisfying if you've created a bunch of characters that have withstood 25 episodes.

And almost always there has to be change, change in the characters is the journey - it's the story.

There's no environment. Use your imagination. There's no fourth wall, whether it's the first time you've told this story about her life, or the sixth time.

On 'Swingtown,' I think that's when I was able to blend the character-slash-leading lady roles, and that's what I'm doing on 'Once Upon a Time' as well. She's a leading lady, but she's also this character.

I'd love to do a film. I'd love to play a character that I know the beginning, middle and end of.

One pleasure of working on a trilogy is watching characters warp and grow over time.