Carl Hiaasen Quotes
Quotes to Explore
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Not to oversimplify it, somebody once said a good rule of thumb in interpreting a character is to find the good in the bad people that you portray and the bad in the good.
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The oldest books are only just out to those who have not read them.
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We want a story that starts out with an earthquake and works its way up to a climax.
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It's really about, oh come on, this guy wouldn't say that or he wouldn't do that, you know, it's about the characters, about the story, about the situation.
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I'm not averse to being a supporting character. I try to pick parts where I can add something.
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It's important for cinema to keep on evolving: for people, and not only teenagers, to be able to go to a movie that has huge epic scope but has an intellectual and real story to tell.
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I read books. Remember those? I read them, on paper.
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I'm not a very big fan of 'Slumdog Millionaire.' I think it's visually brilliant. But I have problems with the story line. I find the storyline unconvincing.
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Before 'Raman Raghav 2.0,' I played a criminal in 'Badlapur.' Though the character was innocent, he was not correctly interpreted by some sections of the audience.
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The test of character is having the ability to meet challenges.
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When you choose your friends, don't be short-changed by choosing personality over character.
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As an actor, I'm my own worst critic, but after awhile, really, when you watch 'Moonrise Kingdom', it's such a fantastic film that you sort of get sucked into the story, and then you kind of forget about everything else.
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You know, I'm from the South, and I wasn't interested in perpetuating a stereotypical southern character.
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I steer clear of books with ugly covers. And ones that are touted as 'sweeping,' 'tender' or 'universal.'
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There really isn't a story that you can't tell inside of it. It's very much a clearinghouse for anything that goes on in the world. So you're not at all limited.
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No matter where your lot may be cast, no power on earth can keep you from making a man of yourself, a superb character, a masterpiece.
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As a writer, I had learned a lot on 'Margin Call' about embracing the weaknesses of a narrative and of a project. A story always has an inherent narrative weakness.
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Profitability comes from loyalty, productivity, and having a character base from which to work.
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At 21, my career took a comedic turn when I was cast in a new Broadway play called 'Brooklyn Boy,' by Donald Margulies, which was equal parts funny and sad. I realized that the more seriously I expressed my character's feelings, the funnier the scene became.
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A raft needed to cross the river is discarded when the other shore is reached, not carried about on one's head.
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I never say I am a guru.
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It was clear to many American working men and women that the Homestead Steel Strike of the early 1890s, when Andrew Carnegie and Henry Clay Frick broke the backs of the steel workers, that that was a watershed.
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My books are character-driven. They're not driven by the story.
