Characters Quotes
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I'm basically drawn to defeated, injured, hurt, barely walking characters.
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I like the variety of characters that you can play in films, rather than playing the same role for 10 years as you might on a sitcom.
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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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I'm drawn to characters who bear similarities to the protagonists in myths and legends.
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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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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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I'm not interested in playing characters who see the world through my prism; I think the journey of understanding any character is to see how they tick and how they differ from you.
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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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I come to writing from hearing great stories as a child in Louisiana, where the mark of a person was his or her ability to be a raconteur. I also come to writing as a professional actress whose body has been trained to listen and smell and inhabit characters without judgment.
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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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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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There is always something of the writer in the work but I don't think Melville had to be swallowed by a whale to write a great novel. If I had lived the lives of all the characters of the songs I've written, that would truly be an extraordinary story.
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It is always the men we won't allow to make love to us, who take our characters away.
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I am very happy that I am getting to play such layered and demanding characters. I feel blessed that directors are trusting me with such roles.
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My play Safe Sex was picked apart because critics thought it was untrue. It was a play in which no one had AIDS, but the characters talked about how it was going to change their lives.
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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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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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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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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 hope that doing truthful portrayals of people in a variety of circumstances gives people a kind of subterranean link to those characters.
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Realism sets itself at work to consider characters and events which are apparently the most ordinary and uninteresting, in order to extract from these their full value and true meaning. It would apprehend in all particulars the connection between the familiar and the extraordinary, and the seen and unseen of human nature.
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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.
