Liana Liberato Quotes
I always want the audience to identify with my character in some way. I mean, sometimes you'll get characters that aren't very identifiable. Sometimes you can't relate to your character at all. I think it's important to keep the audience interested. But the best advice that I've gotten is to live in the moment.
Quotes to Explore
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When I was first starting to write plays, I quite literally had never heard of the idea of studying playwriting. I wouldn't have studied it even if I had heard of it.
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I think that black people, to a degree, need to have a certain level of dexterity. If we want to be at the highest level of whatever our field is, we have to be able to navigate both worlds. We all just know that you gotta be able to put that suit on and have a conversation with people that don't look like you or your family.
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A rap dude has his rap persona, his hyper version of himself. Do you know Method Man's real name? Or Elton John, Marylin Monroe? You make up this character. That's kind of what we have done with Die Antwoord, playing with characters.
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In the world of words, the imagination is one of the forces of nature.
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Freud was a hero. He descended to the Underworld and met there stark terrors. He carried with him his theory as a Medusa's head which turned these terrors to stone.
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Unfortunately, what many people forget is that judges are just lawyers in robes.
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What I do find enormously gratifying is the reviews my books get from the American press. They are so on the ball compared to anywhere else. It's so satisfying to get a review that conveys the reader understood precisely what I was trying to get at.
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It is not surprising, then, that in the decade since Oslo began, Arafat used all the resources placed at his disposal to fan the flames of hatred against Israel.
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The one word that no politician will ever speak, is 'enough.' Enough.
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A committee is organic rather than mechanical in its nature: it is not a structure but a plant. It takes root and grows, it flowers, wilts, and dies, scattering the seed from which other committees will bloom in their turn.
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'Lost' is about a bunch of people stranded on an island. It's compelling, but kind of tiny. But what sustains you are the characters.
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When the art world is done wrong, a reader's faith is lost and possibly not recuperable.
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I'm interested in personalities, not political parties.
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I was hiding behind athletics and all my jockitude, so I didn't have to deal with being ostracized as the weird art kid.
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I'm building shopping centers and movie theaters in the inner cities. So that means supplying jobs and letting blacks understand that we have to build our communities back, not looking to anybody else.
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I was told that, when 'Betrayal' was being produced by one of the provincial companies in England, the two actors playing those roles actually went into a pub one day and played that scene as if it were really happening to them. The people around them became very uncomfortable.
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I will say that rowing in the first Olympics was probably one of the most proud moments in my life. What I enjoy about the sport is that it's definitive. Nobody can take away from the fact that you're an Olympian. It's indisputable. You get there on merit and merit alone.
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I skate now for fun and to keep myself in shape.
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The main characters for 'The Seer and the Sword' made an appearance one night and then haunted me for over five years before I began to write them down. Does that count as inspiration? For me, characters tend to show up, stay on to help with the work of writing their stories, and then occasionally deign to visit after a book is finished.
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What I see as the particularly exciting prospect for writing horror fiction as we go forward is setting stories in more internal landscapes than external ones, mapping out the mind as the home for scary things instead of the house at the end of the lane or lakeside campground or abandoned amusement park.
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The fact is that we don't want to be free. What is responsible for our problems is the fear of losing what we have and what we know.
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That feeling of being 19 or 20 and 'hot' in Hollywood was so intense.
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I do not make films primarily for children. I make them for the child in all of us, whether we be six or sixty.
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I always want the audience to identify with my character in some way. I mean, sometimes you'll get characters that aren't very identifiable. Sometimes you can't relate to your character at all. I think it's important to keep the audience interested. But the best advice that I've gotten is to live in the moment.
