The mask of the character was already written into the show, but I actually lobbied for a denser and more complete mask than they initially considered.
Sentiment: NEGATIVE
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.
It's absolutely of no importance who or what V was under the mask. He isn't a who or a what, he's an idea. The thing is, you couldn't continue it. Now and then the idea of a sequel has been raised, in vague forms, but I think it would be a bad idea. The story's finished.
When I'm writing, I try to have the mask of my character on as I'm walking through the world.
One of the best decisions we made on the 'Arrow' pilot was to have the Deathstroke mask. Within 30 seconds, you knew you were watching a DC comics show.
Masks are wonderfully paradoxical in this way: while they may hide the physical reality, they can show us how a person wants to be seen.
I love a mask. It's why I've got a thing about good writing. When you're acting, you're going into someone else's work. You're behind his words; it's not you.
When I do a mask, I do try to put a lot of character and a lot of expression into the sculpt.
I think all characters are facets of the writer. In a way, they have to be if you're going to write them convincingly.
I wish I were a character actor. Of course, if I played hockey without a mask, I could become one.
So the mask was just really easy, I've got to be honest. And it was great actually because it really allowed you to get into the character a little bit more maybe than without it, if that makes sense.