Edmund Crispin Quotes
None but the most blindly credulous will imaging the characters and events in this story to be anything but fictitious. It is true that the ancient and noble city of Oxford is, of all the towns of England, the likeliest progenitor of unlikely events and persons. But there are limits.
Quotes to Explore
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If someone put a camera in my face now, when I am in student mode, I would get embarrassed, but when I am modelling, I play characters.
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The film industry is mostly about unidimensional characters.
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I think I write fiction for the opportunity to get beyond the limits of my own life.
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Some of the biggest movie stars in the world are essentially characters.
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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 don't mind playing bad guys, but I love having the opportunity to play all different types of characters.
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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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You know, I have some issues. But I just love to play different characters all the time, and I try not to repeat myself too much.
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I've been working at performing for five years now. I've been working in Australia and Spain and England. When I was only 15 or 16, 1 was performing in bars; I could have had legal problems, but it's also the only way to get to know what music is all about.
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The second half was easy to sum up - and absolute shambles! (on England losing to Denmark 4-1)
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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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Usually, the creating of the book happens while I'm writing the book. I start with Chapter One, with a few ideas and a handful of characters, and the book grows from there.
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I'm not jumping on the Andy Johnson for England bandwagon - I'm driving it!
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I had a very colorless background, and when I left Ohio and moved to England, nobody knew who I was and I had a real freedom. I could be free to experiment and experience things and I liked that a lot.
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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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I do have a muse. I am not sure how to describe her. She can be very elusive. She was born in England but has Mediterranean ancestry.
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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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In the network's mind there are no limits.
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The truth is, if we have our own reasons for doing something - reasons that we endorse - we're more likely to do it; we're more likely to stick with it.
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As you continue to work on a show, if I still feel inspired, and I feel they are making exciting choices, then our enthusiasm remains. This is not a perfect science. It's an evolutionary process.
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At a very early age, young people recognize that what is worn will elicit certain responses from others.
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None but the most blindly credulous will imaging the characters and events in this story to be anything but fictitious. It is true that the ancient and noble city of Oxford is, of all the towns of England, the likeliest progenitor of unlikely events and persons. But there are limits.
