Characters Quotes
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Even though they are such fantastical characters and situations, it's still a man trying to figure it out. These motifs of messiahs and heroes and anti-heroes, these journeys are things that we deal with in our day to day.
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When you play characters, you shouldn't just be putting on their characteristics - you should be finding it inside yourself.
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I have no idea and I think Steven King strongest suit is the characters that he does create, all in the same area where he lives. The way he describes them is one of his fortes and it boggles my mind how he's able to do that and to create so many. It must be thousands by now.
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The hardest thing to get right is to figure out how to bring all those characters together, and to fulfill the promise of The Avengers. They really set a very high bar for themselves because you've been setting this coalition up, for these five movies, and they better deliver. And in my opinion, they thoroughly deliver.
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I enjoy the writing process and producing; I enjoy seeing an idea come to fruition. I'm driven by very complex characters. You look at the pilot of 'Breaking Bad,' where there's so much depth to the character, you can't help but be invested when you watch.
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I am not sure how much Dudley will feature just because of the grand scale of the film and the fact that there are so many stories and characters to tie up. I haven't seen the film yet but I think it will be a blink-and-you'll-miss-it moment, but it was nice just to round it off and give it some closure.
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When you're a young actor you like to go for characters with a bit of flair, so in many films I ended up playing the weirdos. I can assure you I'm not a psycho or a criminal or a bully.
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I don't know if I could (do a TV show). I would if it had nothing to do with the comic. It would be really weird and maybe not feature any of The Umbrella Academy characters.
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But the people who took the bus didn't experience the city as we experienced the city. The pain made the city more beautiful. The story made us different characters than we would have been if we had skipped the story and showed up at the ending an easier way.
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The idea of having different characters is really just to get the storyline across, you know? Coming from one particular character makes, to me, the story boring. I get that mainly from novels and that style of writing or movies where there's multiple characters who carry the storyline.
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Any jokes I make I try to make sure it's on story and helps the characters and makes sense with the movie.
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And almost always there has to be change, change in the characters is the journey - it's the story.
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I believe locations should try to be and evoke the characters in a movie.
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The ‘80s don't seem to have gone away. Most weekends in the summer we're off doing a festival in front of 10,000 or 15,000 people with a load of other ‘80s acts. It was just such a great era for music, for individuals and characters. It just had a spirit.
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The vampire was a complete change from the usual romantic characters I was playing, but it was a success.
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I write my own stories. I like telling stories to little children. I think the good thing about stories is they carry you to another place which you've never been. And you feel like you're just enveloped by the book and the characters.
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I truly believe the book of philosophy to be that which stands perpetually open before our eyes, though since it is written in characters different from those of our alphabet it cannot be read by everyone.
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I work really out of mythology, so often I work out of a story that has remained lodged inside somehow, or I work out of history, you know, out of a sense of historical inevitability with characters.
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What I think networks do so well are big, fun, accessible, invite everybody into the tent kinds of storytelling, akin to an early Spielberg movie or a Michael Crichton novel. That's not to say that there aren't scary parts 'cause there are, and that there aren't sexy parts and edgy parts, just like early Spielberg would have, but there's a lot of heart, a lot of emotion and complicated characters.
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On The Great Gatsby: Fifteen-year-olds can really get behind an essay on what green light means, which is good, because they sure as heck won't relate to any of the characters, who are all huge jerks with enough money to be wasted most of the time on top of being miserable.
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I would like to find a more precise way to not only tell the stories of female characters, but also do so in a female "way." My biggest advice would be to trust yourself.
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Time is what makes good stories. Much has been cooking for a long time, and at last finds an out in narration one day. That's a supreme joy. And why the characters keep showing up.
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Usually when you start the characters, the first thing is the script. Your design work is about telling the story. It's later that casting comes into play, but it's a huge component.
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I want to try and portray characters that are in real life, that you see day-to-day. If I were to just stay in my little village in Wales, I would have gotten a very small taste of a very big plate.
