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There are characters in movies who i call 'film characters.' they don't exist in real life. they exist to play out a scenario. they can be in fantastic films, but they are not real characters; what happens to them is not lifelike.
-Philip Seymour Hoffman
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There Are Characters In Movies Who I

Philip Seymour Hoffman
There are characters in movies who i call 'film characters.' they don't exist in real life. they exist to play out a scenario. they can be in fantastic films, but they are not real characters; what happens to them is not lifelike.
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Real Character Play

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On the whole, dialogue is the most difficult thing, without any doubt. it's very difficult, unfortunately. you have to detach yourself from the notion of a lifelike quality. you see, actually lifelike, tape-recorded dialogue like this has very little to do with good novel dialogue. it's a matter of getting that awful tyranny of mimesis out of your mind, which is difficult.
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We always have the movies that are more toward real life, but they don't have that much drama or suspense, or we have the full of drama or suspense, but they're far away from real life. always when i was watching a film, films with good drama, i was thinking, "i wish they were more close to real life." but when i was watching real life films i was thinking, "well i wish it had more drama." i've tried, in the movies that i worked so far, to get these two things closer and closer to each other.
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The thought of the novelist lies not in the remarks of his characters or even in their introspection but in the plight he has invented for his characters - in the juxtaposition of those characters and in the lifelike ramifications of the ensemble they make: their density, their substantiality, their lived existence actualized in all its nuanced particulars, is in fact his thought metabolized.
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Many people are under the delusion that i'm just a special-effects man, but i've worn many different hats in my day. on every film i've been involved in, i worked with the writer and producer. we really formulated those scripts. we tried to make films that were logical but still had the fantasy feel of it. i enjoy aardman animation's films with wallace and gromit, but they're obvious puppet films, whereas we tried to disguise it and make our effects characters in the films rather than obvious puppets.
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I've made a way to allow myself to do big films, small films, dramas, comedies, action films, horror films, or whatever interests me, as a movie-goer. i like watching myself in movies. i want to choose movies that allow me to enjoy myself, the way that i want to entertain myself.
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There's something that happens where you go, if you're lucky, goodness me, from film to another film to another film. and you can sort of feel that if you step off that treadmill, it might all go horribly wrong and you might never be employed again, you know. and i suddenly thought that that's not necessarily the case. and i also thought we make drama as actors about people in the world and that if you are on that treadmill, you start making films about other films.
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Do remember, though, that unless you're a playwright, the result [dialogue] isn't what you want; it's only an element of what you want. actors embody and re-create the words of drama. in fiction, a tremendous amount of story and character may be given through the dialogue, but the story-world and its people have to be created by the storyteller. if there's nothing in it but disembodied voices, too much is missing.
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[there's a] point where you have to leave the dough alone. it's silly to anthropomorphize bread, but i love the fact that it needs to sit quietly, to retreat from touch and noise and drama, in order to evolve. i have to admit, i often feel that way myself.
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Free time keeps me going. it's just something that's always been a part of my life. i was originally a painter, and i made films sort of as an extension of that, and then i started to try to make dramatic films because the early films were experimental films.
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Consciousness is a pitiful hostage of its flesh-envelope, whose surges, circuits, and secret murmurings it cannot stay or speed. this is the chthonian drama that has no climax but only an enedless round, cycle upon cycle. microcosm mirrors macrocosm. free will is stillborn in the red cells of our body, for there is no free will in nature. our choices come to us prepackaged and special delivery, molded by hands not our own.
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