Characters Quotes
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I've always believed in populating my films with characters who we like, who we have some warmth for, who have warmth for each other, who we would like to hang out with, who we emulate in one way or another.
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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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The characters of man's heart, blotted and confounded as they are with dissembling, lying, counterfeiting, and erroneous doctrines, are legible only to him that searcheth hearts.
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Eve Byron has a permanent place on my must-buy list. Her characters are three-dimensional men and women who live on in readers' hearts long after they've turned the last page. ONLY IN MY DREAMS is pure Eve Byron, which means it's a pure delight. I fell in love with Lorelei and Dane, two of the most delightful characters I've encountered in a very long time. Byron's magical touch never falters. ONLY IN MY DREAMS is a surefire hit!
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If I showed you scripts from my first few movies, the descriptions of my characters all said 'the ugly girl'.
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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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People say a story is a window into another mind, another world. I believe they are more mirrors that windows. In them, we glimpse ourselves dressed up as the characters. And like any reflection, the truth we see can be hard to swallow.
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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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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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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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A writer should bury his thoughts deep and convey them through the characters in his novel.
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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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I just make what I like - warm and human stories, ones about historic characters and events, and about animals. If there is a secret, I guess it's that I never make the pictures too childish, but always try to get in a little satire of adult foibles.
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Forming characters! Whose? Our own or others? Both. And in that momentous fact lies the peril and Responsibility of our existence.
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The history and baggage of certain actors and characters - it goes into the movie and becomes part of it. If Keanu Reeves wasn't Keanu with all the things that make him Keanu, it wouldn't be the same for him to come in and become his Bad Batch character The Dream. It's kind of meta or next-level interesting for me.
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Teaching is enormously satisfying because I'm constantly learning more. Just constantly being exposed to new voices and new life experiences and new worldviews and new structural dilemmas and new characters - it's really exciting for me.
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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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None of my characters are rich or famous, and the situations they find themselves in could happen to anyone.
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I've tried most of my career to transform myself towards characters.
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I mean, I can do that all day long. I can tell you the Vulcan's are not actually devoid of emotion. That they work hard to suppress their emotions. And of course, there actually are no real Vulcan's, though I know the ins and outs of them as fictional characters.
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I think every film I make that puts characters in jeopardy is me purging my own fears, sadly only to re-engage with them shortly after the release of the picture. I'll never make enough films to purge them all.
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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.
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You asked what is the secret of a really good sketch. And it is a sketch is a small play. It's got a beginning, and a middle and an end. It should have a plot; it should have the characters, conflict. It is a little play. And in it, will be funny stuff.
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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.
