To me, it all comes down to things being character-driven. It's hard for me to look beyond that. CG and all this cool stuff - so be it. But to me, it pretty much begins and ends with character-driven plots rather than technologically-driven plots. ↗
I start with the story, almost in the old campfire sense, and the story leads to both the characters, which actors should best be cast in this story, and the language. The choice of words, more than anything else, creates the feeling that the story gives off. ↗
Once he became a series character, I made the conscious choice that he would never act like a series character, never wink at the reader, never pull his punches. Better for him, better for me. ↗
The issue for my character, and the issue of the show is, how dirty do your feet have to get without suffocating yourself in the mud in order to get an inch of what you really want done? ↗
I was playing this horrible part. I didn't didn't want to play it because the character was an awful racist. But I'm glad I did it because I met Sidney Poitier. ↗
I know some things when I start. I know, let's say, that the play is going to be a 1970s or a 1930s play, and it's going to be about a piano, but that's it. I slowly discover who the characters are as I go along. ↗
Character... is a habit, the daily choice of right over wrong; it is a moral quality which grows to maturity in peace and is not suddenly developed on the outbreak of war. ↗