Characters Quotes
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Our fans are really passionate and really protective of the characters on the show. That's just a testament to them, that kind of reaction.
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I think one of the few times I've been involved with real-life characters was the story of Marie Bonaparte. I think it's really difficult to become someone that really existed.
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I do that with all of my characters. They have one of the flaws I have, and I zero in on that flaw.
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I've always liked shows that have a strong cast of secondary characters. One of the greatest examples ever I would say is 'The Simpsons.' If you think about it, you could name 100 characters recognizable from that show. I think 'Scrubs' has done a good job of having a strong team coming off the bench.
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I know you sometimes think that people are like books. But our lives don’t have neat logical plots, and we don’t always say beautiful, intelligent things like the characters in a novel. That’s not the way life is.
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I love the way that each book - any book - is its own journey. You open it, and off you go. You are changed in some way, large or small, by having traveled with those characters.
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A new species develops if a population which has become geographically isolated from its parental species acquires during this period of isolation characters which promote or guarantee reproductive isolation when the external barriers break down.
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I love coming up with the stories and being creative and working with creative people and coming up with visuals and creating characters.
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One of the things that I really love about doing a film is working with actors and the whole casting process. I feel I'm not looking for actors. I feel I'm looking for characters. If the characters come from Bollywood, fine. If they come from Indian theater, perfect.
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I give everything to my work, and I like complex roles, characters that aren't obvious. I've been very lucky so far, and I'm dreaming of working with directors like Jane Campion, Susanne Bier and the Dardennes. But the gods will decide.
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I think that what I do is a form of pathetic fallacy, the literary trope in which nature is in sympathy with the mood of the story. I connect the physical setting and props in the story to the emotional state of the characters.
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That's true, you don't want to let anybody down and here are millions of people who've been waiting for their favorite characters to be brought to life and you don't want to disappoint.
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In the course of individual development, inherited characters appear, in general, earlier than adaptive ones, and the earlier a certain character appears in ontogeny, the further back must lie in time when it was acquired by its ancestors.
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I'm so personally attached to all the characters I met and photographed over the years ... the anthology is like a photographic reliquary that could potentially preserve their grace, fierce joy, and restlessness.
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I don't think about the characters I choose to play, analytically or consciously.
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I think I've spent so much time playing characters that are so far away from me and learning how to technically build and how to technically put something on top of you.
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That's one of the benefits of having many seasons behind you, is you have this wealth of characters that you can reintroduce, and that have a history with your current regulars, so you don't have to start from scratch.
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Let's be honest, any show will live or die based on how good the characters are, how good the actors are, how complicated the relationships are, how grounded they are and how much heart they have.
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People are surprised when Hollywood characters act the way a real person would.
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I really like to play these complicated characters, and I really like to transform.
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There are two lives to each of us, the life of our actions, and the life of our minds and hearts. History reveals men's deeds and their outward characters, but not themselves. There is a secret self that has its own life, unpenetrated and unguessed.
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There is a certain period of the soul-culture when it begins to interfere with some of characters of typical beauty belonging to the bodily frame, the stirring of the intellect wearing down the flesh, and the moral enthusiasm burning its way out to heaven, through the emaciation of the earthen vessel; and there is, in this indication of subduing the mortal by the immortal part, an ideal glory of perhaps a purer and higher range than that of the more perfect material form. We conceive, I think, more nobly of the weak presence of Paul than of, the fair and ruddy countenance of David.
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I think I'm really obsessed with characters that lose their face, in a way. I think it's very moving.
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I honestly feel it is important for a director to get obsessed with the characters.
