Character Quotes
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What your character does for a living is one of the most important choices you can make in a screenplay, even if their job is tangential to the story, because it tells you everything about the condition of their life. Are they doing what they love? Are they doing what they hate?
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And they're [Coen brothers] so smart, they're so witty, they have such an extraordinary way of communicating with an audience in a such a clean way - with just a few lines or just a gesture from a character, they say so much.
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To me, the struggle is to try to make a less-well-written or less-well-rounded character and find who they are. If you really get it, and it's all on the page, then it's really just gonna pop out at you.
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Character is everything, especially these days when that's what publishers are asking for. Make sure that yours have child appeal. Also don't have a huge cast of characters. One or two is best, four, the maximum.
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Obviously, for me, that person has got to have a beauty to them - and it's not always physical beauty. It's important that I love someone's character and that I click with it.
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When I'm writing from a character's viewpoint, in essence I become that character; I share their thoughts, I see the world through their eyes and try to feel everything they feel.
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I'm pretty far from the character I play, so it's fun to mess around and be a 15-year-old again.
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I don't start a song with an idea of what ingredients are going to go into a song. It's not like a recipe. I will normally either talk from personal experience or I'll make a character and then try to allow that character to behave the way he or she naturally would.
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I would never play a character that wasn't true. It's not a moral thing; it's just that it's more convincing if it's a little bit like me.
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No sooner does a great man depart, and leave his character as public property, than a crowd of little men rushes towards it. There they are gathered together, blinking up to it with such vision as they have, scanning it from afar, hovering round it this way and that, each cunningly endeavoring, by all arts, to catch some reflex of it in the little mirror of himself.
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Onstage, you just have to tell the absolute truth about the character you are playing. You hope you communicate it, and you hope it comes back like a tennis ball. If you're listening to the sound of your own voice, nobody else is. The audience knows, and they freeze on you.
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'The Green Lantern' seems a little calculated to me. It's like, 'We've got to get on this gay bandwagon and make this character gay.' Like anything else, there's earnest expressions in the culture and then there's kind of bandwagoning.
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I find that once you find the sound and voice of this character you're playing, everything else follows. It comes right out of the fingertips eventually - the physicality, the gestures, the walk - for me.
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I don't really read any comics, but when I got casted on the show, I starting reading 'The Walking Dead' comics. I felt like I needed a better idea of the character.
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The Bible is forbidding when you start to read it. The language is odd. The stories start and stop herkily-jerkily. The characters behave in inexplicable ways. It takes a little bit of time to get into the rhythm of the book. I found reading the first 15 chapters of Genesis very very difficult. Once I got past there, I loved reading, and found it very easy. When you get used to the Bible, it becomes thrilling to read (like any great book - I just had exactly the same experience with the Odyssey).
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I'm someone who loses 80 to 90 percent of the time. Even when I lost, I put my body on the line and I told the best story. If I stood out, if my attitude towards fighting was different, I found a way to stay around and keep revamping myself and my character.
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My main worry is that after a certain point you become so identified with a character and a series that you might not be able to get work when your show goes off the air.
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A person of character takes as much trouble to discover what is right as the lesser men take to discover what will pay.
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Oftentimes what happens is that the writer understands one character, but they don't understand the other one, and the other one ends up not being written as well.
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I'm like a magpie. I use lots of different things to build a character.
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The zombie was just an intriguing character; it is a sympathetic character.
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Actors sometimes immerse themselves into it so deeply that the line between who they are and their character can become blurred. For me, I think it's just about getting clearer on my whole life and who I am in order to make it possible for me to play whatever character is presented to me at a particular time.
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Most good fiction also has a character the writer seems to know more deeply than anyone can actually be known in life, but a few unusual writers can make something great without that.
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Fortunately, there is a sane equilibrium in the character of nations, as there is in that of men.
