Betsy Beers Quotes

I like my characters to be ones I think about long after I've finished reading the script.

I just want to keep finding special characters that I feel like I can bring to life and characters that are real and not superficial.

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.

I love making characters real and believable, through my own experience and choices.

I don't think people are ever going to a place where they're like, 'I'm over stories about character and love.'

As long as your storytelling and emotional depth are intact, that's what people will focus on.

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 think, ultimately, if you create characters that people like and can relate to, your characters are grounded on a human level even if your cars are not.

I don't think the challenge is asking an audience to like a character; it's inviting them to try and understand them... then making that journey entertaining and worth their while. It's a classic trick, but it's human, and it allows characters to have more depth.

My task is to find the authenticity in the character. I tend to go with the script and tell that story.

Every character, if fleshed out properly, is being taken seriously.

I always try to make my characters people, and yet I always want to entertain.

I want to tell authentic, real stories with real characters.

I think books with weak or translucent plots can survive if the character being drawn along the path is rich, interesting and multi-faceted. The opposite is not true.

I am attracted to the complexities and deeper truths of characters, and I can't name a favourite role any more than I can name a favourite food!

Any show I'm working on, I want the stories to always be about something, and to have the potential to be emotional. That's the kind of story that I like.

There's a bizarre insistence on how a story should be. 'The protagonist must be sympathetic!' they say. Whatever that means. I never engage in that discussion. I never use that word, 'sympathetic.' I just know 'interesting.'

I didn't want to be seen as just a guy on a list. I'm interested in good scripts, scripts that are about something, scripts that move your acting along.

I've always wanted my characters to have more dimension and realistic cores than the ingenue material often provides. It's been a challenge.

What helps writers, and ultimately, obviously, helps the actors - who should serve the words that the writer puts on the page - is if the character has damages, because then the writers can cultivate and excavate, like a dentist going into a tooth.

I seem to have to make my characters family before I can access their hearts in any way that matters.

When a script moves me, I find that I immediately understand a character. Of course not completely, but I do understand.

Every role is challenging in its own way, but the most challenging roles are the ones that are badly written - then it's completely up to you to come up with something that is interesting to the story and myself as an actor.

The thing about the classics it that they are such great characters, they have a great deal of depth and different layers to them. I always find that very stimulating to play.

To make a book convincing, it's less important that the right tree be in the right place than that the characters are emotionally real.