The way a character looks reflects what's on the inside. I can make myself look really bad, and I can make myself look kind of gorgeous. It's not about me; it's about the character.
Toni ColletteRead
When I watch a movie, someone's beauty isn't what engages me: it's what's going on internally. And I imagine it's what the audience thinks, too.
Interpretation
True beauty lies in the depth of emotions and character rather than superficial appearances.
Toni Collette's quote emphasizes that in the realm of film and perhaps in life, the internal struggles and characteristics of a person are far more compelling than their physical beauty. This highlights the importance of emotional depth and authenticity in storytelling, suggesting that audiences connect more with the narrative and emotional experiences than with mere appearances.
In practice
During a film discussion, you could use this quote to illustrate the importance of character development.
The way a character looks reflects what's on the inside. I can make myself look really bad, and I can make myself look kind of gorgeous. It's not about me; it's about the character.
I really only take roles that I love and that I have some kind of innate compulsion or need to tell that story. Although it's almost like I have no control over it. It's like they choose me.
The people who are most attractive to me are those who feel most comfortable in their skin - there's a sense of self-acceptance.
I just never want to repeat myself. I also don't want to be bored in life. The great luxury of being an actor is you get to be different people, and I would hate to be repetitive.
I love working. I love it! It makes me feel awake and alive and appreciative, as does my family, but in a different way. If I was told I couldn't do it, I think I would wither and die.
I want variety. I want versatility. Otherwise, I'm wasting the opportunity of being an actor, which is all about variation and change.
Usually, I have a lot of acquaintance with the story before I start writing it. When I didn't have regular time to give to writing, stories would just be working in my head for so long that when I started to write I was deep into them. Now, I do that work by filling notebooks.
The great problem was the selection of the readymade. I needed to choose an object without it impressing me: that is to say, without it providing any sort of aesthetic delectation. Moreover, I needed to reduce my own personal taste to absolute zero.
Prowling the meanings of a word, prowling the history of a person, no use expecting a flood of light. Human words have no main switch. But all those little kidnaps in the dark. And then the luminous, big, shivering, discandied, unrepentant, barking web of them that hangs in your mind when you turn back to the page you were trying to translate.
One of the most satisfying aspects of writing is that it can open in us deep wells of hidden treasures that are beautiful for us as well as for others to see.
To express a marriage of two complementary colors, their mingling and their opposition, the mysterious vibrations of kindred tones.
I think that if we really want to break it down, that non-black filmmakers have had many, many years and many, many opportunities to tell many, many stories about themselves, and black filmmakers have not had as many years, as many opportunities, as many films to explore the nuances of our reality.
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