Finding the voice of a character, no matter who it is - from Black Widow to Han Solo - is the first and most important hurdle for me to cross in any work of fiction.
I think, when I write, one of the things that I'm really attempting to do is I'm attempting to humanize my characters.
In terms of the pilot, you have to introduce a lot of characters in a very short period of time, and you have to paint with slightly broad brush strokes because you just need to give an audience an idea of who these people might be.
Setting shouldn't just consist of describing nature or a landscape, or of saying where something takes place. It is the world of specific people. It's not enough for it to feel vivid or credible; it should feel necessary.
I don't like having characters as props. I never want a character to be a prop.
I can tell very early on, reading a script, within six or seven pages, whether I'm looking at real people, and whether I can see and hear real people.
Definitely later on in the 'Life is Strange' season one recording, we were all pretty tuned into who these characters were. There wasn't a whole lot of finagling that needed to be done, I don't think.
I believe that a great character can be made in one scene, or a few moments.
