Character Dynamics Quotes

Loving movies myself, I know when I see a film with someone with a strong persona, it's hard to overlay another character on top of that.

Very often what will happen between actors is that they'll develop kind of a ghost relationship in real life that reflects their relationship on screen or in the play that they're doing. In fact, I'd say that happens almost every time. I don't know why that happens, but it seems very common.

Even when I'm reading a script where I'm supposed to be looking at the lead role, I'll find myself gravitating toward some small weirdo in a few scenes instead. I'm very instinctive like that and I love the challenge of not having a lot of time to create someone who feels real.

I remember when we were doing the love scene in Some Kind Of Hero, we got in bed nervously. Then he looked up, and it was very genuine, and he went, " Richard Pryor's in bed with Lois Lane!" And it was so cute!

The producers felt that 24 would be good for the audience, to really get to know who these 12 and 12 are.

Without a Prospero-Caliban relationship to balance the Prospero-Ariel one, 'The Tempest' loses much of its resonance.

The thing I respond to the most is just great writing, interesting characters. I like to think that there is something fun about playing a character that has a lot of authority in her own life.

Sure, they were simple desk lamps with only a minimal amount of movement, but you could immediately tell that Luxo Jr. was a baby, and that the big one was his mother. In that short little film, computer animation went from a novelty to a serious tool for filmmaking.

Movies are about people; there're not about ideas. It's like great novels. Great novels are not about ideas. There's never been a great novel about ideas.

The identity of Studio Ghibli movies are how the characters move. They move like live, real people.

While in 'Komban' I played the mother of Karthi, a relatively quiet character, the mother role in 'Kanchana 2' was a stark contrast.

'In the Wake' was a very bleak book. This relationship was not too good, the father and son. This time around, I wanted a father and a son who really loved each other, which would be visible on the first page and would still be there on the last page.

It's people politics, people dynamics that make a show really good, whether it's 'Desperate Housewives' or 'Lost' or 'The Sopranos.' It's the people we've grown to love or otherwise.

Maybe I should call Aaya!(Shigure) If you call him...(Yuki) I'll make you eat that phone.(Kyou) -Shigure-san,Yuki-san, Kyou-kun Shoma

To say that Agatha Christie’s characters are cardboard cut-outs is an insult to cardboard cut-outs.

There's nothing worse - I don't like listening to actors talk about the process, especially when - I mean, for me I've played a lot of guys, dudes, boys in a sense and this was a challenge for me just to play that official character.

When I was in my 20s and 30s, there was such a variety and diversity of types of films that you could see. So many of them were really more about the human condition and about relationships between people, and they were smaller films that had a much greater impact on me as a human being.

My first day on set [Bad Santa 2] was with Billy [Bob Tornton] and it was a sex scene in a Christmas tree lot and you know in order to make it great for the audience you just have to go for it! It was our sort of our icebreaker. There is something very freeing and fun about just playing make believe and it's just over the top and hilarious so you just go for it.

I believe the important part of directing really is finding the right people for the right roles. Sometimes you go for what's expected, and sometimes you go against type because you think that'll really bring something different to the movie.

I had been thinking for a while about how bored and tired I was of playing straight-down-the-middle everymanish characters that have what I call white guy problems. And I missed playing characters who lacked dignity and more importantly, lacked social skills.

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

You don't go around thinking about how characters in a movie, in the stories you make up, relate to people in general.

'Push' had a story, 'The Paperboy' story you could just throw up in the air and shoot holes through the book because the story wasn't as strong. But I felt the characters were stronger in 'The Paperboy'; they were vivid.

I don't know if likeable, pleasant characters have enough conflict for me to want to do them. I admire those people, but I've never been that kind of screen presence who can do nothing. I need to do something.

You just play what a writer writes, in terms of what a character chooses to do and how a character chooses to deal with their various relationships.