Peter Stormare Quotes

As much as most of the actors were kind of curious to know what their character meant in relation to the script and to the plot, they really were quite happy to be part of the adventure of not knowing.

I don't know what the character is going to be. We sit down and we create a character, and all of the characters in all of my films are made like that.

There are three types of actions : purposeful, habitual, and gratuitous. Characters , to be immediate and apprehensible, must be presented by all three.

I think it's just the challenge. It's not that all my life I've wanted to do characters [in Marvel] , because I never particularly thought about it, but the challenge of saying, "How could they be done differently that may be more absorbing or more effective?"

You do not characterize by telling the reader about the character. You do it by showing the character thinking, speaking and acting in a characteristic way. You simply show it and shut up.

You can always find ways to make it different, as long as it's a really well-written script and well-written character.

I don't think you can teach someone how to come up with good characters or a story.

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

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

When complicated characters aren't well drawn, they're boring.

The best character types are the ones you can be creative with and totally delve into...

As a novelist, I cannot occupy myself with "characters," or at any rate central ones, who lack panache, in one or another sense, who would be incapable of a major action or a major passion, or who have not a touch of the ambiguity, the ultimate unaccountability, the enlarging mistiness of persons "in history." History, as more austerely I now know it, is not romantic. But I am.

I definitely think the formula to making my character seem sweet is to let him act like a jerk, give him a redeeming moment, and have a sweet song playing over the background when it happens.

To choose the ideal voice for a character is to give a character an ardent and vivid life, to allow him or her to speak, rather than speaking for them, in an older style of omniscient narration.

If you get the characters right you've done sometimes nearly half the work. I sometimes find I get the characters right then the characters will often help me write the book - not what they look like that's not very important - what people look like is not about their character. You have to describe the shape they leave in the world, how they react to things, what effect they have on people and you do that by telling their story.

For me, the best characters are the ones that feel fully formed inside and out, so I try to have a very clear vision of exactly what they would wear, top to bottom, who they are, what their backstory is, what their family situation is, who are their friends, just creating as much of a three-dimensional character [as possible]. Because I think you could do a very broad character, but as long as there's some emotional truth to them you can get away with really crazy things.

Time is what makes good stories. Much has been cooking for a long time, and at last finds an out in narration one day. That's a supreme joy. And why the characters keep showing up.

In the writing phase, normally I try not to envisage any particular actors because I like to let the characters sort of reveal themselves in that process.

Usually when you're playing a character, you think a lot about their backstory.

As a writer you see the big picture and how you can tell as one character, how your storyline is going to meet up with all these other storylines. And as an actor you're thinking of all the minutiae, all the very small details.

The cool thing about doing films and being different characters is that it's new everyday and new every project. So, you're always learning something different and you get to do research.

You know, when you're in your twenties you use a great deal of symbolism. You somehow think that a character standing beneath a cross is more interesting than a character standing underneath a billboard, but when you get a little older you realize that there's not much difference.

For me, what grabs my attention about the project is usually the character immediately and then the story, and then the people that are involved.

A character is 2D, and then after I come in it becomes a 3D; it becomes alive.

If you create a character, you create a destiny.