You need to be able to climb into a narrative and zip it up under your chin. You need to be able to see through the eyes of the hero, smell what he's smelling, hear what he's hearing.
Sentiment: POSITIVE
Well, you know, with every character, if you're going to expose yourself, you've got to figure out every detail that you're going to play. So there's no character that you can just go put on his shirt and be fully prepared.
The thing about a hero, is even when it doesn't look like there's a light at the end of the tunnel, he's going to keep digging, he's going to keep trying to do right and make up for what's gone before, just because that's who he is.
You learn to rely on a few basic movements and use your voice to the greatest extent possible to convey your emotions. So there was a technical challenge there and a responsibility to create a character from behind the mask.
I just let the character speak to me and things appear.
I just kind of do my thing with sort of tunnel vision for the story and my role and how it fits together.
When I'm trying to find my way into a character, the voice and physicality are the first two things I do.
When you are a hero you are always running to save someone, sweating, worried and guilty. When you are a villain you are just lurking in the shadows waiting for the hero to pass by. Then you pop them in the head and go home... piece of cake.
As a writer, my main objective is to tell the story urgently - as if whispering it into one ear - and to know the characters intimately.
You have to show the character is confused or scared or happy through your voice instead of with your face and body.
My heroes don't have anything special. They have something to tell other people but they don't know how, so they talk to themselves.