Hope is the most sensitive part of a poor wretch's soul; whoever raises it only to torment him is behaving like the executioners in Hell who, they say, incessantly renew old wounds and concentrate their attention on that area of it that is already lacerated.
If you know why someone is doing what they're doing, why they're behaving the way they are, then that's your job to reveal that, and often that's situational. The storytelling does that, and then some of it's your job as an actor to make that subtext come to life.
I shy away from plot structure that depends on the characters behaving in ways that are going to eventually be explained by their childhood, or by some recent trauma or event. People are incredibly complicated. Who knows why they are the way they are?
Economists got away from really questioning how the world works, how decisions actually got made. If something doesn't conform to neoclassical models ... people are not somehow behaving themselves properly.
Cling tooth and nail to the following rule: Not to give in to adversity, never to trust prosperity, and always to take full note of fortune's habit of behaving just as she pleases, treating her as if she were actually going to do everything it is in her power to do. Whatever you have been expecting for some time comes as less of a shock.