Elodie Yung Quotes

You always start a fight scene or an action scene with, 'What are we learning about this character at the moment, and how are we gonna arc him or her in the next three minutes,' and it's no different with 'Deadpool' or 'Atomic Blonde' or 'John Wick.'

Make your characters believable, and your reader will believe what they believe.

What makes characters real are details, and if you're crafting a person from scratch, you're probably not going to pay as much attention to a question like, 'Does this person bite their nails?'

Once you've established where you are, you go to the character and elaborate on expressions and action.

I just love to be able to actually build a character.

When you build characters from the outside in, they become, oftentimes they become like 'Saturday Night Live' characters or they become like caricatures of the character.

The main thing is the ability to control your instrument, which, in the actor, is yourself. Look the way you want the character to look. Sound the way you want the character to sound. Once you've trained the instrument to do what you want, you're in control, and you're free.

My first job is to write the characters as full and authentic people as well as I can.

Sympathetic characters usually have a voice. They usually don't have any trouble being heard.

I do not choose characters because I think, 'Wow, that woman is so strong.' I chose these characters with utmost conviction because I think they were realistic enough to exist, and I really liked the scripts.

What I look for in any character, good or bad, is whether I can hear him speak. If I can imagine him that clearly, then I can write about him.

I love those preliminary conversations about who a character is. You try on wigs, shoes and clothes. It's preferable when it's not about looking pretty. It can get a little dull to just be cute. We talk about things like, maybe my character can't afford these Christian Louboutins.

I always work with the tempo of the energy of the character, whether he's fast or slow, or heavy or light.

I try to get roles that challenge me in what I can do and who I think I can portray. For me, it's about creating characters with really fascinating stories, because that's what I like to watch on TV.

My characters are not plastic.

A lot of times in movies, especially in sequels, the characters become caricatures and just sort of improv machines and joke machines, rather than people you can actually connect to.

I can tell you that as a writer and as a reader, I regard character as king. Or queen. No matter how riveting the action or interesting the plot twists, if I don't feel like I'm meeting someone who feels real, I'm not going to be compelled to read further.

Creating characters is just another way to express a type and put that type to use.

My job as an actor is to cover and expose in varying allowance that - so that the audience can peek through the window to the people I create.

When you watch it, you're like, Wow. I look like that. But it doesn't feel like that at all. It was about communicating with Gale Harold and getting across what I wanted to say about the character.

I have a tendency as an actress in general to ground my characters. Even when doing outlandish characters, that's my instinct.

You have to sort of see the way that the character behaves, and what the character says and does, and claim it in the same way that you claim anything, really.

The question of likability is a bit of a puzzler for me. You know, I don't write people with likability in mind. It's more whether or not I find them compelling.

You can't make the audience fall in love with a character you don't like.

Early on in the writing, there is often a sentence that pins down a character for me.