Characters Quotes
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Once we know the plot and its surprises, we can appreciate a book's artistry without the usual confusion and sap flow of emotion, content to follow the action with tenderness and interest, all passion spent. Rather than surrender to the story or the characters - as a good first reader ought - we can now look at how the book works, and instead of swooning over it like a besotted lover begin to appreciate its intricacy and craftmanship. Surprisingly, such dissection doesn't murder the experience. Just the opposite: Only then does a work of art fully live.
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As a feminist, I think you never want to have your characters defined by the relationships that they're in, and it did give her a chance to be a sophomore in college without a boyfriend.
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I am really inspired by strong, badass, female characters. I would start with a revenge film, then ease into stories of badass everyday woman who make a difference in their own life for the better of people and environment around them. Stories of self realization.
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Cisgender actors don't take trans roles out of malice. I think it's just failure to realize the context behind having cisgender people play transgender characters because we don't see the same issue with sexuality.
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I'm basically drawn to defeated, injured, hurt, barely walking characters.
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I believe that an author who cannot control her characters is, like a mother who cannot control her children, not really fit to look after them.
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Perhaps it's because I am reading romance differently than I did when I was younger, but I like my characters older. Grounded in reality. And nothing is more real than kids.
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Don't put your characters on a treadmill. They need to go new places, face new challenges and do new things.
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Making a documentary, there are thousands of choices, all the time: the angles and the pace and the choice of characters, the choice of music.
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Because I'm stern and scolding [the characters] sometimes, I'm sure I'll get a ton of grief.
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Modeling is a lot of fun, but I prefer acting. It's so much fun to get to play different characters and transform into someone else for a while.
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When translating prose dialogue one ought to make the characters say things that people talking English could conceivably say. One ought to hear them talking, just as a novelist hears his characters talk.
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I like characters that make me feel challenged and sort of inspired.
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In the stormy current of life characters are weights or floats which at one time make us glide along the bottom, and at another maintain us on the surface.
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I really like directors who give you a certain amount of autonomy because I think a lot about my characters and I think a lot about scenes and choices.
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But the people who took the bus didn't experience the city as we experienced the city. The pain made the city more beautiful. The story made us different characters than we would have been if we had skipped the story and showed up at the ending an easier way.
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Even though the play [The Best Man] was written a long time ago, the characters seem modern and their struggles to make ends meet and to "have a little fun along the way" have a very contemporary feel. The similarity between the The Great Depression and The Great Recession - as well as the gulf between the super-rich and the ordinary Joe - still rings a bell. One of the things this production accentuates is how beautifully Grandpa and his family accept all kinds of people - rich or poor, black or white - and the best thing that can happen to you is to be part of a loving family.
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My fictitious characters will take the bit between their teeth and gallop off and do something that I hadn't counted on. However, I always insist on dragging them back to the straight and narrow.
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The main thing that I learned from editing is that most people, when they're making a film, they start too early into the story. They will try to set up the characters, they will try to establish things before the plot actually starts.
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None but the most blindly credulous will imagine 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.
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Dostoyevsky wrote of the unconscious as if it were conscious; that is in reality the reason why his characters seem 'pathological', while they are only visualized more clearly than any other figures in imaginative literature... He was in the rank in which we set Dante, Shakespeare and Goethe.
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What makes You Can't Take It With You so popular and a perennial favorite with student and amateur productions (it continues to be one of the top 10 best-selling plays year after year) is the breadth of characters and personalities on display: in age, race, gender, social status, a true cross section of society when the play was written and also true today in terms of the reality of the humanity on display.
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All a writer's characters are imaginary, no matter whether they are based on real people or not. They are people as one imagines them to be.
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Only the Strong is a lushly atmospheric and passionately written piece of work, bursting with colorful characters that shine on every page.
