Summer Glau Quotes

I really fall in love with my characters, even the bad ones. I love getting together with them. They tell me what to do; they take me on a wild and wonderful trip.

You can't sit here and try to predict what kind of character I'm going to be drawn to next. At the time when I read 'The Girl on the Train,' it wasn't like I was, 'Ooh, I want to play a hot mess next.'

If you're creating your character, you can have full ownership of the emotional range they go through. You can make bolder choices.

I take little bits and pieces of ideas that I may or may not believe in but I give them to this character and he runs with them. I have fun with however he handles the situation.

In a series, you really need to stay open-minded. It's not like a play or a film, where you can create and fully commit to your character's back-story.

A novel is utterly your own creation, a very private process. I think of a novel as a noun and a screenplay as a verb. In a novel, very little needs to happen; you can explore a person's memories and thoughts and fantasies. In a screenplay, it's all action; you must push the story on.

And the nice thing about writing a novel is you take your time, you sit with the character sometimes nine years, you look very deeply at a situation, unlike in real life when we just kind of snap something out.

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

I love it and it is a blessing to be able to have seventy-five to eighty episodes to develop a character and find your voice. You have a similar through voice, and yet you are making different decisions, and so you act differently and you make different choices, as that is what your character would do.

I'm interested in telling the character's story, not my beliefs, political or otherwise.

The moment comes when a character does or says something you hadn't thought about. At that moment he's alive and you leave it to him.

When I approach any script, I always try to find what I would relate to most in it.

Actually, I get a little say in what my character would or wouldn't do.

I always like to play roles where I either love the character or think that it's a story that I can tell better than anyone else. There are always reasons for me to do whatever I do.

I never try to give a message in my books. It's about living with characters long enough to hear their voices and let them tell me the story. Sometimes I would love to have a happy ending, and it doesn't happen because the character or the story leads me in another direction.

If you give a character room to breathe, they come alive.

I spend a lot of time with my characters.

Schedules on TV are so tight, and it feels like they get tighter and tighter with every passing year. The idea of asking where your character's come from or where they grew up - you would just get a little bit laughed at.

To be honest, when you're running a series and you have an open end, you don't want to limit yourself too much with the choices you've got for a particular character.

I think sometimes actors are drawn to good television because you have more time to sell it, you have more time to shape a character, and to tell a story, and that's really appealing.

I hate the analyzing thing. People say, 'Why do you think your character did that? I don't know. I'm not an analyst, and they're not in psychotherapy. Unless it's a film where they're in therapy.

If the entire script feels formulaic, then you know that the film will be like that. But if it's a really interesting script, and the character happens to be formulaic, then maybe there's a way of making them more interesting.

I've always felt, even with sketches, that if you don't care about these people, then it doesn't matter.

When you create a character, you create it for yourself - you do whatever you want. It's your job to explore it in as many different avenues as you can in order to make it a fully wounded character.

I'm focused on finding characters I connect to.