I think that Hollywood misconstrues actresses saying, 'Oh I wanna play a strong female character,' like we all want to play, like, superheroes or something.
There's no need for a female character that does things like a male character; that's not what makes interesting female characters in my view.
It's cool to be a female character who gets to be really strong and tough.
I do love that witches haven't really been explored that much. Usually, witches are the little side character... a bad female character that comes in and leaves.
Usually, witches are the little side character... a bad female character that comes in and leaves.
I've worked with Lars von Trier on many films, and there's always a female character that's like an open wound - everything just pours out of this person.
I'd like to do something where there's a strong female character and some action. I've done a few stunts in the past.
There's something very, very liberating about Harley Quinn. Much more so than a character like Catwoman or Poison Ivy. Those are great characters. But then again, those characters are more of the femme fatale and the temptress roles.
Venom' is a standalone character who has so much attitude, menace and ferocity. He's also really funny in the comics and in our movie. He's a really compelling guy that can completely stand on his own. When he's played by Tom Hardy, and Eddie Brock is his partner, that relationship is enough for one movie.
The Italian character in general is full of animation, and the natives enter into the interests and welfare of the stranger before them with a fervor that forbids all doubt of its sincerity and that is truly surprising.
A national festival is an occasion to refine and rebuild the national character.
I approach my interviews with the mindset of, exactly what are we selling? How can I sell it the hardest and the most effectively in the fewest words possible? And how can I make each word that I say mean as much as it possibly can? And I bring that perspective to the table because I used to focus a lot on the character that I had to play.
The Foxy character and Inga Marchand are two different people. My fiance calls me Inga. No one around me calls me Foxy. I go to church every Sunday. I go to Bible study every Friday night. I'm saved.
The first thing I read was of my character on the phone talking to Sydney's fiance. Though short, it was so beautifully written, and it made me laugh. I thought if I wanted to play a character, this would be it.
There are a couple of strategies for writing about an absence or writing about a loss. One can create the person that was lost, develop the character of the fiancee. There's another strategy that one can employ, maybe riskier... Make the reader suffer the loss of the character in a more literal way.
I was horribly shy all through grade school and high school. But somehow I got up the nerve to audition for one play in high school - 'Auntie Mame.' I got a small part as the fiancee who comes on in the end. I got laughs. I wasn't shy at all doing the part. I can do anything on stage and write it off as a character.
I think that fiction writers can write about anyone. If you are writing a character, and the only thing they are to you is their otherness, then you haven't written a character.
In every film, whether it's a fictional character or not, you create an idea of the character and for me I always do a bad impersonation to start with.
I try to make the readers feel they've lived the events of the book. Just as you grieve if a friend is killed, you should grieve if a fictional character is killed. You should care. If somebody dies and you just go get more popcorn, it's a superficial experience isn't it?
I've never done an improvised movie as a fictitious character. I think that's the challenge.
