Question: In Fight Club, which actor thought his character was too one-dimensional
About the article "Fight Club", section "Writing".

Candidate passages:
When "Fight Club" premiered at the 56th Venice International Film Festival, the film was debated fiercely by critics.
A newspaper reported, "Many loved and hated it in equal measures."
Some critics expressed concern that the film would incite copycat behavior, such as that seen after "A Clockwork Orange" debuted in Britain nearly three decades previously.
Upon the film's theatrical release, "The Times" reported the reaction: "It touched a nerve in the male psyche that was debated in newspapers across the world."
Although the film's makers called "Fight Club" "an accurate portrayal of men in the 1990s," some critics called it "irresponsible and appalling".
Another newspaper charged, ""Fight Club" is shaping up to be the most contentious mainstream Hollywood meditation on violence since Stanley Kubrick's "A Clockwork Orange".
"Janet Maslin, reviewing for "The New York Times", praised Fincher's direction and editing of the film.
She wrote that "Fight Club" carried a message of "contemporary manhood", and that, if not watched closely, the film could be misconstrued as an endorsement of violence and nihilism.
Roger Ebert, reviewing for the "Chicago Sun-Times", called "Fight Club" "visceral and hard-edged", and "a thrill ride masquerading as philosophy" that most audiences would not appreciate.
Ebert later acknowledged that the film was "beloved by most, not by me".
Jay Carr of "The Boston Globe" opined that the film began with an "invigoratingly nervy and imaginative buzz", but that it eventually became "explosively silly".
"Newsweek"s David Ansen described "Fight Club" as "an outrageous mixture of brilliant technique, puerile philosophizing, trenchant satire and sensory overload" and thought that the ending was too pretentious.
Richard Schickel of "Time" described the director's mise en scène as dark and damp: "It enforces the contrast between the sterilities of his characters' aboveground life and their underground one.
Water, even when it's polluted, is the source of life; blood, even when it's carelessly spilled, is the symbol of life being fully lived.
To put his point simply: it's better to be wet than dry."
Schickel applauded the performances of Brad Pitt and Edward Norton, but he criticized the film's "conventionally gimmicky" unfolding and the failure to make Helena Bonham Carter's character interesting.
"Cineaste"s Gary Crowdus reviewed the critical reception in retrospect: "Many critics praised "Fight Club", hailing it as one of the most exciting, original, and thought-provoking films of the year."
He wrote of the negative opinion, "While "Fight Club" had numerous critical champions, the film's critical attackers were far more vocal, a negative chorus which became hysterical about what they felt to be the excessively graphic scenes of fisticuffs ...
They felt such scenes served only as a mindless glamorization of brutality, a morally irresponsible portrayal, which they feared might encourage impressionable young male viewers to set up their own real-life fight clubs in order to beat each other senseless.
""Fight Club" was nominated for the 2000 Academy Award for Best Sound Editing, but it lost to "The Matrix".
Helena Bonham Carter won the 2000 Empire Award for Best British Actress.
The Online Film Critics Society also nominated "Fight Club" for Best Film, Best Director, Best Actor (Edward Norton), Best Editing, and Best Adapted Screenplay (Jim Uhls).
Though the film won none of the awards, the organization listed "Fight Club" as one of the top ten films of 1999.
The soundtrack was nominated for a BRIT Award, losing to "Notting Hill". 
"Bart Stops to Smell the Roosevelts" was written by Tim Long and directed by Steven Dean Moore.
The episode features former American President Theodore Roosevelt with the use of archival audio recordings.
The use of Roosevelt's voice was first announced at the San Diego Comic-Con International in San Diego, California, on July 23, 2011.
Showrunner Al Jean revealed to the press that "we staff have actual audio of Roosevelt (taken from a speech circa 1918) in the show.
I thought, 'Finally!
We can put a president in the show.'
And a good one too.
We're going to give him a little credit at the end.
"Even though Superintendent Chalmers was first introduced in the season four episode "Whacking Day", the character had never been a central part to an episode.
This episode marks the first time in which the entire episode follows Chalmers.
In Chalmers' flashback from his teaching days, the scene looks like the library of Shermer High School from the film "The Breakfast Club" from 1985.
The students however refer to the club as "Fight Club". 
Screenwriter Jim Uhls started working on an early draft of the adapted screenplay, which excluded a voice-over because the industry perceived at the time that the technique was "hackneyed and trite".
When Fincher joined the film, he thought that the film should have a voice-over, believing that the film's humor came from the narrator's voice.
The director described the film without a voice-over as seemingly "sad and pathetic".
Fincher and Uhls revised the script for six to seven months and by 1997 had a third draft that reordered the story and left out several major elements.
When Pitt was cast, he was concerned that his character, Tyler Durden, was too one-dimensional.
Fincher sought the advice of writer-director Cameron Crowe, who suggested giving the character more ambiguity.
Fincher also hired screenwriter Andrew Kevin Walker for assistance.
The director invited Pitt and Norton to help revise the script, and the group drafted five revisions in the course of a year.
Chuck Palahniuk praised the faithful film adaptation of his novel and applauded how the film's plot was more streamlined than the book's.
Palahniuk recalled how the writers debated if film audiences would believe the plot twist from the novel.
Fincher supported including the twist, arguing, "If they accept everything up to this point, they'll accept the plot twist.
If they're still in the theater, they'll stay with it."
Palahniuk's novel also contained homoerotic overtones, which the director included in the film to make audiences uncomfortable and accentuate the surprise of the film's twists.
The bathroom scene where Tyler Durden bathes next to the narrator is an example of the overtones; the line, "I'm wondering if another woman is really the answer we need," was meant to suggest personal responsibility rather than homosexuality.
Another example is the scene at the beginning of the film in which Tyler Durden puts a gun barrel down the narrator's mouth.
The narrator finds redemption at the end of the film by rejecting Tyler Durden's dialectic, a path that diverged from the novel's ending in which the narrator is placed in a mental institution.
Norton drew parallels between redemption in the film and redemption in "The Graduate", indicating that the protagonists of both films find a middle ground between two divisions of self.
Fincher considered the novel too infatuated with Tyler Durden and changed the ending to move away from him: "I wanted people to love Tyler, but I also wanted them to be OK with his vanquishing."
The actor should examine the world around him.
With all his being he must pay attention to gestures, and imitate the world through a process of reflection.
He must amplify what he observes, because the original is too subtle, "it speaks too softly".
The construction of one character happens simultaneously with all the others.
The actor must take possession of his character and critically calculate its various manifestations.
Learning a character is not only a critical process, but one that must evolve with the development of the other characters.
The fictive object is a character that has evolved in a society, a given situation, and owes its construction to relationships with other characters.
The "possession" of the actor by the character, and beauty for its own sake, are some of the aspects of traditional acting to which Bertolt Brecht was opposed. 
 Woo Soo-Choi: Currently has Kang Too Jee's body.
He is studious to an extreme, with great concentration skills.
A very kind heart, he is often misunderstood because of Kang Too-Jee's personality and past.
He becomes a student of the Gyuk Moo-Do school of martial arts in order to fight one of his first enemies.
Kang Too-Jee: Currently has Woo Soo Choi's body.
As he has amnesia he is not seen often until later volumes.
He recovers his memory during a fight and confronts Woo-Soo Choi.
After this confrontation, he stays at Woo-Soo Choi's house at his behest so that his mother does not get upset.
He becomes a student of Judo - a skill which he could never previously master, but now can due to Woo-Soo Choi's weak, but extremely flexible body (It is double-jointed).
Park Yu-Na: Beautiful, popular among boys and scared of gangsters or trouble-makers.
She always thought Kang Too-Jee was a scary and violent person until Choi Woo-Soo took over his body.
Then she starts falling for who she thinks is Too-Jee but is really Woo-Soo.
Do Do-He (or Do Do-Hye, Do Do-Heh): Attractive, smart and stubborn, she is Kang Too-Jee's land-lord.
She also dislikes him until Choi Woo-Soo takes over his body.
Chun Moo-Jin: Long haired, pretty-boy kind of character.
He befriended Kang Too-Jee when they learned Hapkido together.
Very quickly becomes obsolete as a fighter, but remains an amusing character.
Also in love with 'Do Do-He' (Yun-Na's close friend).