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Every film you're commissioned to write is all about an arc; usually, the arc is that the world creates a change in the character, usually for the better. To not have an arc, the messages and ideas in the film became more prominent.

It's really interesting working in television as opposed to the theater, where you know the arc of the character and you are able to create this whole backstory.

I think it's important that a director be able to know his characters inside and out.

The great thing about films is that you have access to this whole world of experts who teach you the skills your character's supposed to have.

Films work due to scripts, characters, and what you see on screen.

Always when you are doing films, the themes swallow you in one way or another.

If I'm doing my job as an actor, the audience knows everything I know about the character.

I feel like if a film is well-written, then the character's arc is complete. There really is very little room to expand on that afterwards.

When you're telling a story, the best stories, every character has an arc. Every one. And that arc is usually about finding yourself, or about at least finding something about yourself that you didn't know.

When working on a period, it is the finer details that evoke imagery that helps in cinematic adaptations.