I'd love to play Venom. I'm a huge 'Spider-Man' fan, and Venom was the character that drew me into the comics.
I'm a huge fan of comic books movies and comics, and so for me it was a real dream to get to make a movie in this world, and certainly to get to make a movie with Venom as its titular character.
I do laugh when I hear myself saying, 'I am a ventriloquist.' I am definitely suited to it, though. I took it and ran with it quite hungrily. It is not for everyone, but it is just the chance to write for a character.
Vera Caspary wrote an essay called 'My 'Laura' and Otto's' where she talks about the arguments she had with Preminger. She felt that not only did he misunderstand the character but that he couldn't help but be misogynist.
You know how sometimes you hear a chord played on an organ and you can feel it vibrating in your bones? Sometimes when I'm writing, I can feel my bones vibrating because I'll have a thought or I'll have a character's voice in my head, and that's when I know I'm on the right track.
I feel like I've come out of this grown up, maybe because I live through the character vicariously and she grows up so much during the course of this story.
I'm a video game fan, and I always thought it would be cool to be able to control a character.
When I'm writing from a character's viewpoint, in essence I become that character; I share their thoughts, I see the world through their eyes and try to feel everything they feel.
I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.
It's really rare that you come across a Southern character that's not stereotyped, vilified or aggrandized.
I can't help slightly falling in love with every character I write about. And I quite like writing about people who are vilified.
There's this character, Theo Galavan, who becomes the ringleader for the revolution of villainy in the city of Gotham. He becomes this mentor figure for Jerome that really inspires him to go off the deep end, and it's really fun.
I love Vince McMahon. He came up with the Kurt Angle character. He ran with it, and then I was able to run with it. I thank him for the opportunity he gave me. Vince McMahon was one of my best friends, period.
The theater, bringing impersonal masks to life, is only for those who are virile enough to create new life: either as a conflict of passions subtler than those we already know, or as a complete new character.
I'm a virtuoso in my job in that there's not an actor I can't go into a scene with and be absolutely confident that, whatever is required of my character, I can do it.
I want to work with great directors. I've picked films based on the script or the character and seen them collapse because the directors were not strong visionaries.
My earlier books, 'The Oath,' 'This Present Darkness' were pretty straight adventure. 'The Visitation' is like a deeper book, more thought-provoking. It probes at character more.
The fact that political ideologies are tangible realities is not a proof of their vitally necessary character. The bubonic plague was an extraordinarily powerful social reality, but no one would have regarded it as vitally necessary.
Think about 'GoodFellas': It could be a textbook on how not to write a screenplay. It leans on voice-over at the beginning, then abandons it for a while, then the character just talks right into the camera at the end. That structure is so unusual that you don't have any sense of what's going to happen next.
In voiceover, all you have to worry about is your voice and practicing with your voice and then being able to understand what the situation and whatnot is happening. And you have endless amounts of film to perfect the character.
