To me, I love being able to see some of John C. Reilly's face in Ralph, and some of Sarah Silverman in Vanellope. That there are hints of them there. In the broad strokes, they are there.
Sentiment: POSITIVE
From the moment we started working on the first 'Wreck-It Ralph,' we knew there were so many possibilities with these characters.
I'll see a photograph of a character and try to copy them on to my face. I think I'm really observant, and thinking how a person is put together, seeing them on the street and noticing subtle things about them that make them who they are.
People pitch me the crazy mystery mind-blowing thing all the time. My response is, 'Great, but how do the characters feel about it, and how do we reveal new facets and new dimensions of who they are?'
I am very observant of people's character.
I loved the Scarecrow and the Tin Man and the Lion and you could kind of see the actors' faces in them. It wasn't an entirely new face sculpted around them. What made those characters so human and appealing to me was seeing those great actors underneath there. They weren't lost behind a bunch of appliances.
My face lends itself to austere characters, and unless they're two-dimensional, I will do them. Any actor will tell you that an interesting villain is much more interesting to play.
Appearances are a glimpse of the unseen.
As a general thing, I've always been drawn to characters who appear to be one thing on the surface, but are actually something else underneath.
I think the eyes are very revealing and can expose a lot about a persons mood or character.
One of the things that all authors of fiction must learn to judge is whether - and in what detail - to describe the face of a character.
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