Character Quotes
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'Flaubert's Parrot' is an amphibious book in which what appears to be a personal essay about Flaubertian writing is gradually, delicately transformed into an extremely sad novel in which the differences between character, author, and narrator are less clear than they appear at first glance.
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The greatest compliment a writer can be given is that a story and character hold a reader spellbound. I'm caught up in the story writing and I miss a good deal of sleep thinking about it and working out the plot points.
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I think character is permanent, and issues are transient.
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I think people, especially in the Muslim community, are rightly cautious any time you hear, 'Oh, there's going to be a Muslim character.'
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It seems to me that most good protagonists are both clever and resourceful. They are intelligent and can fix things, both little and big. They can come up with inventive solutions others would never think of.
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Infelicity is an ill to which all acts are heir which have the general character of ritual or ceremonial, all conventional acts.
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I'm very grateful that I'm the kind of actor where I'm not some character actor. I can't disappear into a world.
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I've had some interesting roles along the way, but they tend to be cause-driven. They're always about something. There isn't time for character work as an actor because you're fighting the cause or mourning the child or fighting the disease, etc.
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I grew up watching 'Rambo' and 'Rocky' and all of those movies, so you have a surreal moment, even as an actor, when you're in front of these guys, whether it's DeNiro or Stallone. You have a moment like, 'Geez, that's Sylvester Stallone,' and then you have to snap out of it and get back in the pocket of the character.
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Usually, at the end of a film it's like I've finally gotten to know this person completely, and then we're done. That actually happened on the set of Twilight, and then it happened again on New Moon. Each time my character Bella became a different person, and I got to know that person and take her to the next level.
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If you lose your wealth, you have lost nothing; if you lose your health, you have lost something; but if you lose your character, you have lost everything.
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My dad played a character on the radio called 'Parkyakarkus.' A Greek-dialect comedian. He did Friars' roasts and wrote material and made people laugh that way. But he wrote his own shows with other writers.
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So far as regards their moral character, the Finns have as little cause for reproach as any other people.
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I tried to forget about playing Romeo in 'Romeo and Juliet' and just think about him as a normal guy, as a normal character, and just try and approach him the same I would every other character.
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No, you don't have to start your play with a premise. You can start with a character or an incident, or even a simple thought. This thought or incident grows, and the story slowly unfolds itself. You have time to find your premise in the mass of your material later. The important thing is to find it.
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I don't want to get stuck playing the same character over and over again.
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I always try to make each character my own.
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No matter how heinous someone's behaviour, if you make them a comic character, you can't expect people to hate them.
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When I read books, I actually really love imagining whomever I want to in the character's role. I get such vivid pictures on my own that that is a big part of the experience for me.
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It takes a strong character for a person to say, 'I can't do it.
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I do like to embed a fictional character firmly in an occupation.
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When I was just starting out, I had two choices: I could be the beautiful girl on the main man's arm as decoration, or I would have to do a little independent movie to get any depth in the female character.
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My character at 'Mel's diner' was involved in betting on the horses and all that.
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When I read a script, the important thing is that I can connect in some way with that character and have some idea from what his story is that I can tell that story too, because that's all acting is, is storytelling.
