There are so many romantic comedies made, but very few dramas or love stories. And with a love story, you have to take time to develop three-dimensional characters.
Over the years, if you look at the films of people like Billy Wilder, Preston Sturges, Frank Capra, their supporting characters, even if it's a doorman with two lines, always seem three-dimensional. To me, that's a sign of good storytelling.
It [Moonlight movie] deals with drug addiction, drug dealing, and single parenthood, but they are three dimensional characters. You understand where they are from and what they are trying to do with their lives. It is not a stereotype that has been pasted onto somebody. These are stories that come from Barry's [ Jenkins] and Tarell's [Alvin McCraney] mothers.
You can make bad writing 'OK,' but... you really need to start with a good script and with characters that are three-dimensional and with great dialogue. It's a difficult lesson to learn because good writing is hard to come by, but it's definitely worth chasing.
In other words, the people who populate my books are more than caricatures.
To me to write well is to battle stereotypes. To write well is to create three-dimensional characters that seem human.
I think, in a comedy, it's easy to play people as very two-dimensional. But what is enjoyable to watch is seeing a more fully rounded person.
What's so dumb is that women are 50 per cent of the population, and they want to spend money to see movies where they're portrayed as three-dimensional characters.
The villain is usually the most interesting part. But it has to be a smart thing. Just dumb cliche villains with a Russian accent and big muscles and a mean face, I don't know. My Russian accent isn't that great, and the muscles aren't that big and the mean face is not enough. You know what I mean? It gets very boring. Tedious stuff.
There are so many female roles - particularly for young women - that are just somebody's girlfriend or somebody's daughter, or that are accessories to the main story rather than being three-dimensional characters.
I love playing roles where it's not just the good guy or the bad guy.
The important thing is for the characters to feel real, and to be given the humanity they are due. That granting of humanity is what separates a full portrait from a stereotype.
Television's so quick, and there's so many other fun elements to it, but you don't get such good scripts and the time to really make much more three dimensional characters.
I would like to carve my novel in a piece of wood. My characters—I would like to have them heavier, more three-dimensional ... My characters have a profession, have characteristics; you know their age, their family situation, and everything. But I try to make each one of those characters heavy, like a statue, and to be the brother of everybody in the world.
The villains that I play, I always think that they are grounded, wonderful people with enormous intellects who are very exciting to spend an evening with. I never see them as bad people.
It's certainly more interesting for me as an actor, but I think it's also more interesting for the audience to see three-dimensional characters, rather than just a bad guy or a good guy.
In 'Boyz N the Hood,' every female character was three-dimensional.
I like three-dimensional characters - it's just more interesting when you get on set.
I want the audience, when they leave, to think of the characters on the stage in three dimensions. I want them to have empathy. I also want them to think about engaging more with where we are culturally.
The beauty of 'The Hunger Games' and also 'Game of Thrones,' in fairness, both projects have really complex, three-dimensional, contradictory, strong women... The writing of female characters is extraordinary and equal to the men.
I don't like to play characters that are one note, and just the attractive girl in the film.
I don't want to do action that doesn't mean anything. Everything I do I want to have character development and three-dimensional characters, fallible humans, and this is definitely one of them.
If you're going to play human beings, and you're going to play them three-dimensionally, you have to show every side of them.
We may divide characters into flat and round.
