Ginnifer Goodwin Quotes

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.

There is always that thought that you might get stuck with a character. But there's always the notion that every character is always evolving.

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 treat characters like people you meet in life-friends or mentors.

If there's ever going to be a challenge for an actor, it's that character who's often evolving - which is not often the case in television.

A lot of times, scripts are written so the character is all one way. Even with 'Bringing Out the Dead,' the character was written a little more generic.

It was great as an actor to be given the story line I was given but I didn't expect Craig to stay so it was a lovely twist when I found out they'd decided to keep him.

One never wants to do anything that's going to break that 'sculpture of the character' that's been done so far, or make anything that's been done so far become illogical in any way, so you always want to try to connect when you're doing a series of films that has a continuous character.

You have 22 episodes to start from zero to hero; you can really take a nice, big, long arc. In a film, it's tough to do that - you only have 90 minutes.

I wrote seven Myron Bolitar novels in a row, and I never want to write a Myron book where he just solves a crime. Every one of them I want to be personal, and I want him to grow and change. The problem with that is, it makes the series limited, you can't write a series where a guy is always going through some kind of crisis.

What's fun about doing a series is you get to take some time to create the character.

Whenever you're blessed and given a second season, you can really let the characters evolve. That first season, you're setting everything up. It's background, where they're coming from, what they want to do. And then you get to marinate in it that second season.

One of the most exciting parts of the Nexus and 'Bad News' Barrett eras were I had a lot of influence in the character and I had a lot of influence in how I was going to portray myself.

I build my characters from the day they're born to the first page of the script.

Conflict is the place where character and plot intersect.

With any television series - and it's something that is taken for granted with movies because you have the whole arc within two hours - you establish who the character is and it's a two-dimensional version, or if you're lucky, a two and a half-dimensional character. Once you establish that, you can move forward and break all the rules. Once the audience has accepted who the person is, then you can do the exact opposite. What makes it funny and interesting is doing the opposite.

The biggest challenge is not the storytelling, it's to track every character's arc through the entire movie.

There is a story that you have to tell within a certain amount of time, and you can only show so much of the character. So as much as the script is born from the source material, there are certain limitations.

Week-by-week you grow with your character and it's an interesting challenge.

You're always choosing the start point and the end point. And almost by definition, the most interesting period is where something happens, as a result of which something is different at the end. And so to me, the idea that you know everything about a character at the beginning is sort of ridiculous. Something has to be revealed. I like it when the deeper you go with the character, the more you see the layers start to peel away. It's more challenging to me, but it's also just interesting. Those are the things I like to watch. I like to watch the evolutions of something.

I know, we can barely fit them in. That is a big challenge. Treating four lead characters equally, within a 30-minute format, is definitely challenging.

That is many poets don't know how to tell a story and they don't have a sense of how to put things in order to tell a story and we thought the poets could learn from fiction writers something about developing a character over time who wasn't just you and also creating a narrative structure.

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?"

The test of a round character is whether it is capable of surprising in a convincing way. If it never surprises it is flat. Flat characters ... in their purest form ... are constructed round a single idea or quality; when there is more than one factor to them, we get the beginning of the curve toward the round. The really flat character can be experessed in one sentence such as, "I will never desert Mr Micawber." There is Mrs Micawber - she says she won't desert Mr Micawber; she doesn't, and there she is.