All greatness of character is dependent on individuality. The man who has no other existence than that which he partakes in common with all around him, will never have any other than an existence of mediocrity.
You jot down ideas, memories, whatever, concerning your real life that somehow parallels the character you're playing, and you incorporate that in your scene work.
It's like real life: We don't get a preview of what's coming up, thank God, and we don't build our own character from what we're going to be informed with in the future.
I care about Bond and what happens to him. You cannot be connected with a character for this long and not have an interest. All the Bond films had their good points.
What is overriding that and most important is that readers generally are interested in a good character. They might be more comfortable with Harry because they think they know him, but they always seem willing to give somebody new a chance.
While some of them acknowledge the obligation of natural morality in their mode of conducting their cases, and preserve their individual character as gentlemen, there are others who acknowledge no law, human or divine, but the law of Scotland.
But it was this tough little character part that I was playing, a very funny little guy that I invented over a weekend, because I realized I was not contributing to the humor of this thing. And I had to do something.
I think is very beneficial to relax yourself so that when you are doing it you are not staggering for lines and your concentration is not on what I am going to say - but the scene itself, the character that you are talking to.
