character

     There must be a character change in a story, less so or more so.

     In character forget words and only think objective.

     What the character knows.

     The actor feels the emotion and thinks the objective to become the character, then reaches for the words to make the character look real.

     Characters don't go around showing what's really inside of them, they wear a mask for protection.

     How to stay in character?

     Accomplish what the character wants with emotion.

     Take on all the troubles of the character. The character must suffer.     Character can be out of control, but never the actor.

     Let the character have a private existence. Young actors just open the character because they feel they need everybody.

     Try to improve your own character. Understand different times, like Grapes of Wrath. Read about them. Learn social values of different times 50's, 60's, 70's, 80's and 90's to make choices.

     Whatever the character is thinking or feeling, the actor has to be in mischief.

      Actor must know where his/her character fit into story.     Whenever possible, make your character attractive.

     Don't be a character in your head, it will never show. Use emotion and objective for your behavior. People go "to see a movie", they don't go "to listen to a movie".

     Don't self indulge, remain the actor until you step up to the camera. As an actor you can listen to instruction, but not in character.

     The character isn't simply an extension of yourself.

1. Acting is not imitating the character, it's being the character.
2. All scenes, where there is a scene of revelation of character. Seven veils, building up revelation.
3. As an actor you must reveal everything about the character.
4. Audience has to be in the character's head, live other people's lives, know what the character is thinking.
5. Audience likes characters to overcome difficulties.
6. Behave as if your character has a future.
7. Be aware of what is going on in the inside and outside of the character.
8. Chose emotion and objective, your body will behave in the character.
9. (Both actors were aware that they were in a comedy. They were kidding their characters). Don't make fun of character.
10. Completely creditable.
11. Concept: he is like a hound dog, stupid.
12. Life activity: hooker is pelvis.
13. Character always have a fulfillment inside.
14. Character always off base.
15. Character has self.
16. Character has strength, so don't lean over.
17. Character has to stumble into scene.
18. Character has to have an inner life.
19. Character in a state of difficulty.
20. Character can be out of control, not the actor.
21. Character isn't simply an extension of yourself.
22. Character is out of control. Actor in control.
23. Character is the answer, use of form architecture.
24. Character must have an opponent.
25. Character must struggle.
26. Character should never give up.
27. Characters don't want to be clowns.
28. Characters have to change.
29. Characters justify themselves, murders, etc.
30. Characters must change more or less throughout scene.
31. Characters must grow or diminish.
32. Characters must have an involvement, not just two actors doing things.
33. Characters must remain through out. What are they?
34. Character's problems.
35. Character's secret self: 14 years old, speaks of the eagerness of a 14 year old.
36. Chose emotion and objective, your body will behave in the character.
37. Come out of character to listen to director.
38. Contest going.
39. Control of only to point of losing it.
40. Create a separate individual. Something has to happen. Not what people say, but what they do.
41. Deal with what they are trying to be.
42. Depend on situation and character, just don't run around.
43. Didn't believe characters.
44. Divorce yourself from your skills.
45. Don't be a character in your head, it will never show. Use emotion and objective for your behavior. People go "to see a movie", they don't go "to listen to a movie".
46. Don't look for the prototype in characters.
47. Don't lose character in shtick. It is better to fail on the creditability.
48. Don't make assumption about characters.
49. Don't mug. Character is very serious. Not the desire to get laughs.
50. Don't tell the story. The character doesn't know he is in a story.
51. Don't use your own behavior on every character.
52. Emotionalism is not the emotion of the character.
53. Find character's way, string of beads and exploring the content.
54. Finding out what is the essence.
55. He is a rabbit. Nervous. Ideal image of character.
56. How do you go about playing characters: physically become character; a) center of character. b) ideal image of character. Ably a and b.
57. Human values effect audience, they must be able to react to the character. It's all about the human experience.
58. In comedy, the minute you start to make fun of your character it dies, it goes out the window.
59. Ideal image of character.
60. Italians are very romantic. Center of character: the hands, expansive.
61. Justification: don't play negative qualities of character.
62. Let the character have a private existence. Young actors just open the character because they feel they need everybody.
63. Let things get off base.
64. Look for difficulty.
65. Look for everything to make it difficult for the character.
66. Look for stillness, that will help.
67. Look for selfish motive of the character.
68. Make characters so they aren't mannered.
69. Make the objective personal for the character.
70. Mind set on what character wants.
71. Must have a cause.
72. Never deal with human beings without a mask. 
73. Never look down on character; fool or loser must have their egos and pride.
74. Nobody puts themselves down. People try to do better. Don't put down character.
75. Objective is in characters words.
76. People doing what they set out to do.
77. Person with an identity: objective and emotion.
78. Play a hooker; different kinds of hookers.
79. Play a mean guy, look for the coward.
80. Playing character: make the character attractive, etc. We don't put our miseries up front.
81. Point of view of characters.
82. Present most attractive self of person.
83. What the character believes. Actor must put arms around character, what is his/her ego, etc.
84. Prostitute: play a tragic character, however, not all prostitutes are tragedy.
85. Reminder to audience, identify.
86. Signals from the playwright; telling the story, character and development.
87. The actor must find out what is the stress put on his character.
88. The actor can't start seeing their character, because  they will imitate the character, start to walk next to character. It turns the actor into a puppeteer.
89. The character can be out of control, not the actor. Actor must be articulate. Don't get tense as actors, hands must be relaxed.
90. The character isn't simply an extension of yourself.
91. There is no reason for logic. There is prototype.
92. Try to improve your own character. Understand different times, like Grapes of Wrath. Read about them. Learn social values of different times 50's, 60's, 70's, 80's and 90's to make choices.
93. We expect normal, but get the abstract. Audience must think we are all slightly mad.
94. What animal my character resembles?
95. What are they doing?
96. What does the character want?
97. What the character is about?
98. What the hell you're doing to each other?
99. When doing a scene, find out what the human wants.
100. When playing a dangerous person, don't.
101. When studying the lines, how does this relate to the character.
102. You just can't play the surface, humans are more involved.

1. Character suffering, don't just make dialogue joke.
2. Beware if you are bemused by your character, the character has to suffer.
3. Humor is based on foibles of the characters.
4. Not funny with people who are involved.
5. Take on all the troubles of the character; character must suffer.

"In the end, it can't look like acting."