Character Quotes
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TV deals in very broad strokes. Like, 'Oh, that's my dumb friend', or, 'That's my funny friend.' A true best friend, a sidekick, has to be a little deeper then that. You have to feel like there's nothing either character won't do. That someone really, really has their back.
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There's something to play if there's conflict going on. Whatever that conflict is, that's where drama is; if the character is grappling with something you've got something to play, there's layers to it.
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Even if you're specific about the character of the song, it's more exciting to place them, juxtapose them in such a way as to make an adventure out of the sequence of the songs.
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You get thought of in terms of your last job. So if my last job is that of a meat cleaver-wielding character, I will hardly be cast as some benign, older gentleman.
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Bausch is a wonderful storyteller. He's a mature writer who has a lot of confidence in the quality of character. He doesn't need to hook you with a sneaky plot and zany characters.
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I think that's part of the fun for us: we love looking at movies through the filter of a specific character - characters who aren't the lead - and figuring out the film from their point of view.
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I hope and dream the time will come when serious artists will make marvelous pictures that will love and live in life-like manner and be far more interesting and wonderful than pictures you now see on canvas. I think if Michelangelo was alive today he would immediately see the wonders...The artist can make his scenes and characters live instead of stand still on canvas in art museums.
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Ninety percent of my roles, I've had to fight for. It's only a really small percentage of people who get handed roles. But that can be quite scary. The good thing about auditioning is that you get to test yourself and see if you can play this character - you're also auditioning yourself. I enjoy seeing what the chemistry is between the people you might be working with.
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We build our character as a carapace to keep away the fear of the abyss. That's what our character is for.
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I never really approach any project or story thinking of themes first or what a certain character 'represents.' Maybe other writers do, but for me, it just starts with the characters and a certain emotion I want to convey. It usually isn't until I get deeper into a book and look back a bit that I start to see the themes, etc.
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What I do is give Ennio Morricone suggestions and describe to him my characters, and then, quite often, he'll possibly write five themes for one character. And five themes for another. And then I'll take one piece of one of them and put it with a piece of another one for that character or take another theme from another character and move it into this character.... And when I have my characters finally dressed, then he composes.
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It's definitely my responsibility not to stereotype any character, but especially a gay character because of the misperceptions people still have about gays.
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It is a work of psychogeography, albeit in a less explicit sense than Iain Sinclair's or Will Self's. It had to be fiction though, because I needed that freedom of including whatever belonged, and cutting out whatever didn't. The main fiction in it was matching Julius' generous and self-concealing character to New York's generous and self-concealing character. I think this also adds to my answer about New York's personality in the book.
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Be as careful of the books you read, as of the company you keep, for your habits and character will be as much influenced by the former as the latter.
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They take inadequate views of Christ's prophetic character, who think Jesus came only to utter discourses, parables, and prayers. Suppose all He ever said to be found in the writings of Jewish rabbis and heathen philosophers, His great function would still be an orginal one, to show us the Father.
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When you're writing a story or an actor playing a role, you should never think of your characters as heroes or villains. You have to think of them as people first.
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The most difficult character in comedy is that of the fool, and he must be no simpleton that plays that part.
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I wasn't terribly aware of Catwoman. She was a DC comics character and as a kid, I wasn't terribly fond of the DC comics characters. I was a Marvel boy.
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I very much write from characters. Those people start speaking, and then I have them in the house with me and I live with them. Then at some point, it's time to get them out of the house. You can only live with someone like Dr. Georgeous Teitelbaum from THE SISTERS ROSENSWEIG for so long, and then it's time for her to go. But it is very like having the company of these people and trying to craft them in some way into a story.
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The supreme blossoming of character lies or reside in renounciation or renuncement and abnegation of self ("abnégation de soi", Fr.)
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Any fool can fight a winning battle, but it needs character to fight a losing one, and that should inspire us; which reminds me that I dreamed the other night that I was being hanged, but was the life and soul of the party.
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I tend to write one character at a time. But I don't write the entirety of one character at a time.
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The hell to be endured hereafter, of which theology tells, is no worse than the hell we make for ourselves in this world by habitually fashioned our characters in the wrong way.
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Fighting teaches you a lot about yourself. When you fight you are in a situation where failure can happen. This chance of failure forges your character in many ways and makes you realise how mentally tough you have to be as a fighter. This mental toughness will transfer into your everyday life, giving you drive and a clear concise attitude, where giving up is not an option
