00:00Non solo attraverso i ragazzi molto complicati.
00:31Why do you have to be always the one who knocks in Albuquerque or in court?
00:38Why do you love characters who are, yeah, you were saying complex, but also obsessed with something?
00:46Most of the characters I play have a deep complexity to them with a lot of idiosyncratic baggage.
00:57I guess I'm just attracted to very complicated men and problematic men, and I think there's a reason for it.
01:05I think because I see myself in them, flawed, and then I also see hope in them of where they
01:14really would love to be, whether or not they ever get there.
01:18As long as a character recognizes and attempts to make a change, I think the audience welcomes that.
01:28They recognize that, too, in themselves.
01:32And that's what's important is to get an audience to not just observe, but invest.
01:38When you get an audience to relate to a character and feel that it's being portrayed honestly, they invest in
01:48that character and say, I know that feeling.
01:50I've felt like that before, and now I'm in, as opposed to being back and going, oh, he's doing this
01:59and he's doing that and he's going through that and they're not personally involved.
02:03And so that's what I hope to do is to try to get audiences personally invested in the characters in
02:10the story.
02:10Well, they're the most interesting to play, to be just real frank.
02:17Characters that have an ambition, characters that have fears, that have secrets, characters who are really accomplished at something, and
02:31characters who have flaws.
02:32Because when you look for those things, you're already developing a character, but you're developing dynamic characters.
02:44If I see a character who's indifferent and sitting back and not engaged in anything, I'm bored with them.
02:56And I think that an audience would be bored with them.
02:59So those are not the characters that keep me interested or that I relate to.
