Adrian Tomine Quotes

I always begin with a character or characters, and then try to think up as much action for them as possible.

I like to make all my characters interesting. Be they male, female or creatures unknown.

I try to be true to the characters that I've created and sometimes I disagree with them, but their opinions about the story and the characters really matter to me.

When I'm putting the character together I try to find music that I think fits the character.

I went through about 40 different hats until we found one that fit. It had to fit me and fit the character, more importantly, and whatever that thing was that we were trying to create with him.

Cry Baby is just a character in this world that I'm trying to create, and the music videos are really important to me, and I've fought to obviously get all of them approved.

I told my friend - we were working on a movie together - and he gave me a script and asked me to give him notes. And they were all male characters, and I said, "You know what would make this character more interesting?" And he asked what - and it's this road trip between three guys, basically, one older man, one 30-year-old and a 13-year-old mechanic. And I said, "If you make the 13-year-old a girl, and you make her an Indian-American mechanic." And he said, "What do you mean?" And I said, "Yeah, don't change anything in the script about him, and just make it a her."

I really don't like to go for the stereotypes. I try to give you characters that you don't know until you get to know them, and [decide] how you should feel about them.

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.

I just look for characters that have dimensions. If I don't see it written on the page, then I try to put it in there somehow. You don't want to play the same role twice.

People who are well-known, famous people, I think, make very poor characters for fiction. They make good characters for gossip columns. But not for fiction.

The recipe for any character is always very interesting, as far as what doses of certain qualities you want.

I think a lot of creators are attracted to those toys they got to play with when they were young, and everyone wants to write a Superman story or a Batman story or a Spider-Man story. I don't know, if it's been successful for me, it should be successful for anyone. "Hit the ground with your feet running" is the secret of breaking new characters when it seems like no one else is having any luck.

Your character that you create in your writing not only represents who you are, but also represents a number of people who you've met along the way.

For me, as an actor, the most challenging thing is creating the character in the beginning because you have to write their backstory. The easy part about doing a sequel is that you've done the film, so you already know their backstory.

I'd like to be taken in charge of as an actor, not to be abandoned with asinine dialogue and meaningless actions or stereotyped characters. I'd like to feel like I'm in a character driven story.

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

I think because I write so many short stories, it's not that hard to come up with characters that are not me.

My characters are usually composites. I wish I could pretend that I make up all of these characters, but no. I steal from people. But people will say to me, "Oh, that's me!" and I'm thinking, no, that's not you!

I've sort of prided myself on playing characters with conscience. The first way I go about creating a character is looking at that area of conscience. What have they done, and what has it cost.

I can work inside the boundaries of Erika Murphy, or whoever the character is. It's fun to create somebody that's not you, that doesn't exist.

When I work, I really try to get absorbed in the character. Unless I want to do something playful with the camera, I'm not too worried about where the camera is or positions.

My character was a homogenization of various things, whether it be the attitude of a Bruiser Brody, or the look of Nikita Koloff or the way that Nikita looked at the people. I took a little bit of what I liked and what I had seen throughout the years from everybody that I was entertained by and made it my own.

Being an author means, almost by definition, that you make up characters and then complicate their lives. That's it, really. You make up characters and give them problem after problem after problem.

I loved the idea of doing impressions and mimicking and playing around with the spectrum of your own voice. That's what I enjoy most about doing voiceovers. You can be completely unconscious with the rest of your body and just concentrate on doing something with your voice, creating an entire character with your voice.