Batya Gur Quotes
The life story of the five main characters and the secondary characters around them allows Jonathan Franzen to present the full impetus and extent of the world picture of the West at the end of the 20th century.
Quotes to Explore
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Characters who don't suffer have no interest to me.
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The film industry is mostly about unidimensional characters.
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Some of the biggest movie stars in the world are essentially characters.
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All of my characters are less than perfect.
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I try to get roles that challenge me in what I can do and who I think I can portray. For me, it's about creating characters with really fascinating stories, because that's what I like to watch on TV.
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Myself and David, we both love art. We have a lot of respect for Damien Hirst and Julian Schnabel, and we've met them both, and they're very interesting characters. I also have a lot of respect for the working women out there. As you know, it's not easy when you're looking after children and you have a career as well.
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So much of movie acting is in the lighting. And in loving your characters. I try to know them, and with that intimacy comes love. And now, I love Voldemort.
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For me, 'Mommy' was about developing very humane characters that would be very credible and endearing and work onscreen.
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I think I can see more clearly now - about how the pattern of past experiences has shaped who I am and the characters I have played - and I'm grateful for that.
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As a Southerner, I love obstacles for my characters.
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I'm an actor, and everything about me - the way I perceive things, the way I have seen the world - has been in relation to characters and how I would want to play something or not play it.
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[Success] always starts with the material; it always starts with the truth and honesty of the characters that you read in the screenplay and that's rarely something that can be remedied if it's simply not there by the time you shoot the film. Thank God we had that.
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I really feel that's part of why audiences go to movies now is to take you to a world you have no access to, whether it's the world of Avengers or Middle-earth or bars in Boston you would be afraid to go into. You see characters there - they aren't hobbits but they're close.
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Anything that's different from your own realm of experience as a human being, whether it's driving a car or a boat, or using guns, anything that separates you from yourself and leads you more towards this character's existence is a big help.
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Villages are small and personal, and their inhabitants have names, characters, and personalities. What more appropriate concept on which to base our institutions of the future than the ancient social unit whose flexibility and strength substained human society through millenia?
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That is the beauty of having characters that don't make a big deal out of being gay, or lesbian, or whatever. They are just what they are, and that is acceptable - and that nobody should question that and that love is love.
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Sometimes I think that people's characters get forged, at least in part, from their names.
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Everything I make is with intention. I'm not very haphazard with my artist work, although I wish I was sometimes. I'm very conscious of the conversations I'm pushing about different threads and themes around landscape and characters that exist - how it's pictured, who's pictured it, who's owned it and who's been able to inhabit certain spaces. I have other interests as well. I'm really obsessed now with going to gay male dance clubs. I find those thrilling. I'm interested in what future characters can come.
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My M.O. as far as choosing projects is I really try not to work. I try to not do the scripts that are offered me. I'm in this wonderful position to be able to do that.
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Art is not the handmaid of politics. It is its own remedy! And its healing is sacral.
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I've never hung around with any models. I've always hung around with my friends from school and kept myself to myself.
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Psychedelic experiences are beyond the reach of cultural manipulation, and discovering this and exploring it is somehow the frontier of maturity. Culture is a form of enforced infantilism. It's the last nursery, and most people never leave it.
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The life story of the five main characters and the secondary characters around them allows Jonathan Franzen to present the full impetus and extent of the world picture of the West at the end of the 20th century.
