Characters Quotes
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I'm basically drawn to defeated, injured, hurt, barely walking characters.
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Deeply affecting and compulsively readable, The Fifty-First State displays Lisa Borders' emotional acuity, first-rate skills as a storyteller, and profound empathy not only for her two compelling main characters but for an oft-neglected region and a disappearing way of life.
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Usually most characters I play are quite realistic.
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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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I use the Net for a lot of things besides e-mailing. I involve myself in chats with people as part of my research for characters.
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It always takes awhile to find out who the characters are.
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But people do the same thing with the Bible. They memorize all the fictional characters, the parameters and the rules of the game and think it's important, but I can't get excited about that myself.
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I am very sensitive about characters being annoying in movies.
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Only strong characters can resist the temptation of superficial analysis.
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I'm not sure if we're going to or not because what happens is I'd always love to see certain characters back, there's so many. Some of it has to do with, if we want them back, are they available and the other aspect is do they fit with the storyline we're telling.
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One lesson I learned from 'The Monstrumologist' was never to get too attached to your own characters. That's harder in practice than in theory. At the end of the third book - which coincided with the end of my contract - I was an emotional wreck. I mourned Will Henry and Warthrop.
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I'm not going to experience the reality of hardship that sometimes my characters live in. I'm very cautious about that.
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In all my songs, I take on roles and play characters. It's a unique way to explore ideas and decisions I might not think or make in real life.
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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 viewer, I care about people, I care about characters, I care about perspective.
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I write what I want to write. Period. I don't write novels-for-hire using media tie-in characters, I don't write suspense novels or thrillers. I write horror. And if no one wants to buy my books, I'll just keep writing them until they do sell--and get a job at Taco Bell in the meantime.
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If you're doing gags, I think it's important to have characters who are as strong-willed and impactful as possible.
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I'm drawn to characters who bear similarities to the protagonists in myths and legends.
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Sometimes I forget what I put in. I want to capture things in that way, where you're looking into your memory, a dream or hallucination. The characters become a mixture of archetypes, and that's what I like. You're trying to figure it out and your brain wants to categorize things, but it can't because of this motion. You want to solve the problem, but it never gets solved. It's like when you read a really good book and the story never leaves you.
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I would love to do some characters that have greater vulnerability. I don't know why. I know I can play these roles, but they're certainly not the only roles I can play.
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Trust your actors. That's why I work with the same actors time and time again. I encourage them to change the dialogue to achieve one thing: keep the characters honest.
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The characters are telling you the story. I'm not telling you the story, they're going to do it. If I do it right, you will get the whole story.
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I think, above all, the characters in my novels feel universal to the readers.
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Reality television paints a simple black-and-white world of good characters and bad characters; people we want to root for and people we want to see ruined. There is none of the gray ambiguity that colors real life. I no longer watch a lot of reality television, but sometimes I can't look away from 'Honey Boo Boo.' I just can't.
