Characters Quotes
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If there's any sort of superpower we desperately need right now, it's this transcendental force that reminds us of union and connection. I think that superhero stories come from somewhere. We make these aspirational images, to remind us that we have this capacity in ourselves already. I think that electricity can run through disconnected wires. Superheroes, every single one of them, come from the world of imagination and they're played by humans, they're written by humans, and it's in the belief that we invest in these characters that they come to life.
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My characters shall have, after a little trouble, all that they desire.
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The first heart you win over is that casting director. In first meetings, they'll be the ones who see your pitch for the character. And then as you get further up, they'll be the ones reading with you in front of the network.
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I suppose the longer anyone spends on earth, the closer we all get to becoming superfluous characters.
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None of my characters are rich or famous, and the situations they find themselves in could happen to anyone.
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People forget that the more we know about the world - about people, cultures, and about life - the stronger we are as actors because the more we can bring to our characters.
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'Homeland' really is one of those shows where they start to write more or less depending on what's kind of going on in a relationship between characters.
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Most people are middle class. Most people do wish their lives were better than they are. And I think by making my main characters ordinary, average guys, it helps readers identify with their problems. It also helps ground the supernatural events that follow in a recognizable reality and perhaps gives some of my wilder scenarios a little verisimilitude.
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When I was writing my first draft, and feeling grandiose, I e-mailed an artist/clothing designer I know and suggested we collaborate on a fashion line inspired by the outfits my characters wore. I regret that we never did that.
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I am tired of our characters being so incomplete. When do we ever save the day in a film? When does a Latino actor get to be the hero?
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Let us suppose the mind to be, as we say, white paper, void of all characters, without any ideas; how comes it to be furnished? Whence comes it by that vast store which the busy and boundless fancy of man has painted on it with an almost endless variety? Whence has it all the materials of reason and knowledge? To this I answer, in one word, from experience.
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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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I've tried most of my career to transform myself towards characters.
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When you have love in a story, it gives you the freedom to really take the characters to very interesting places.
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I don't think there is a need of the categorization 'woman writing'. I think in some sense writers lost their gender when they walk into the world of words; I believe that writers ought to be able to slip under the skins of both men and women. Only then will the writing and the characters have credibility and strength.
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Acting and writing go together. Actors write because they love words and becoming other people - we love to escape into other characters.
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The people who write official histories for the Army believe that a generation needs to pass before you can tackle the official history. It's useful to have some distance. Sources become available. Passions cool. It allows an opportunity to make some real assessments and judgments about personalities and characters.
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When I got to the end of this play, I realized I was trying to make Angel do something that had not been justified by the characters and by their story . . .. I kept trying to force it, but that doesn't work. So I had to come to terms with what it meant for me to create a character who doesn't triumph.
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I think having my life be as private and quiet as possible is a way in which then I can go and play characters.
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The most important thing, when playing characters with chemistry, is being able to work off the other actor and be supported.
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Because change is never easy, and is resisted, it is your job as storyteller to apply as much pressure on your characters as possible. You must back them into a corner and force them to change. Make it as painful as you can. Bring them to the brink of physical or emotional death if you possibly can. Your protagonists will be measured by the size of their struggle, so don't pull any punches.
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Barrie and the wonderful characters he created, Lewis Carroll, even French literature, like Baudelaire or over in the States, Poe, you open those books, you open The Flowers of Evil and begin to read. If it were written today, you'd be absolutely stupefied by the work. It's this incredible period where the work is timeless, ageless. So yeah, I just love all those guys. It's my deep passion in those great 19th century writers.
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The most striking characters are sometimes the product of an infinity of little accidents.
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It is true that we shall not be able to reach perfection, but in our struggle toward it we shall strengthen our characters and give stability to our ideas, so that, whilst ever advancing calmly in the same direction, we shall be rendered capable of applying the faculties with which we have been gifted to the best possible account.
