Carson McCullers Quotes
The writer by nature of his profession is a dreamer and a conscious dreamer. He must imagine, and imagination takes humility, love and great courage. How can you create a character without live and the struggle that goes with love?
Quotes to Explore
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There is no need to change my image. I like my image, and the audience likes it, too. I am very comfortable with the kind of roles I do, and as I am not doing the same character or playing myself. I explore my characters; I don't brood over my broody image.
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One of the strangest experiences one can have is to sleep on stage, as I once did in Sydney when I'd lost the key to my flat. I had to stay at night in a bed, which conveniently was on stage because my character Sandy Stone did his monologue from a bed. To wake up looking at a shadowy auditorium is a very peculiar feeling.
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While you are improvising, you need to be prepared, and I like to have a sense of who the character is, what she likes to read, where she grew up, where we went to school, and what she has for breakfast, so that when I go to set, I'm free to explore.
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I'm trying to learn to smoke, which is rather weird when everyone is trying to stop. I'm not a smoker. But my character only smokes as an affectation.
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One of the virtues of being very young is that you don't let the facts get in the way of your imagination.
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But in action, one defies one's character.
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I'd like to do something where there's a strong female character and some action. I've done a few stunts in the past.
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Where there is righteousness in the heart, there is beauty in the character. When there is beauty in the character, there is harmony in the home. When there is harmony in the home, there is order in the nation. When there is order in the nation, there is peace in the world.
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Every view, and every object I studied attentively, by viewing them again and again on every side, for I was anxious to make a lasting impression of it on my imagination.
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In film you can use images exclusively and narrate a whole story very quickly, but you don't always so easily find the form in cinema to dig deeper into human thoughts and emotions. And in a novel you can much more easily express a character's inner thoughts and feelings.
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I've always considered myself a character actor.
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The past could liberate or imprison - it creates a nation's character, provides the nourishment or the poison a people imbibe in their very marrow.
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It's never been important to be a huge star or to have some breakout role. If you're the lead, you get a lot more screen time and you get a lot more chances to develop that character more thoroughly than you would if you do it in a little supporting part.
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I doubt that the imagination can be suppressed. If you truly eradicated it in a child, he would grow up to be an eggplant.
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The destructive character lives from the feeling, not that life is worth living, but that suicide is not worth the trouble.
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I had an incredibly full life with my imagination: I used to have all sorts of trolls and things; I had a wonderful world around my toys and invented people. I don't mean I had imaginary friends; I just had this big imagination thing going on. I didn't need any imaginary friends, because I had so much other stuff going on.
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I think I'm drawn to more villain-type characters, because it's so cool to get to say all the things you want to say. In Hollywood, you get to this position where you have to bite your tongue so much. You take all your experiences of not being able to say what you really want to say, and channel that through your character.
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I do love that witches haven't really been explored that much. Usually, witches are the little side character... a bad female character that comes in and leaves.
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My aunt Caroline was really a character. She lived and worked in my grandfather's old house and even wore some of his clothes.
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Culture is more important than politics and government.
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The nice thing about doing a pop opera - in the way that doing, say, 'Miss Saigon' or 'Les Miz' would be - is that, because the convention is set from the beginning that this is an opera and everything is sung, there is never that feeling of 'Why is this person bursting out into song?' because the whole thing is sung.
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What I think I've learned is that you're never going to get it all right, and you can't obsess about having a fact wrong or a date wrong or something like that, as long as you tried as best you could. If you've done the kind of research that you're sure is pretty good, then you just have to have confidence in it, so that nothing is perfect in life. I think that is what the criticism has helped me to understand.
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The writer by nature of his profession is a dreamer and a conscious dreamer. He must imagine, and imagination takes humility, love and great courage. How can you create a character without live and the struggle that goes with love?
