Characters Quotes
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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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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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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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Have you ever asked yourself why one person is honorable and another dishonorable; why one is honest, another dishonest; why one is moral, another immoral? Most individuals do not intend to be dishonest, dishonorable, or immoral. They seem to allow their characters to erode by a series of rationalizations, lies, and compromises. Then when grave temptation presents itself, they haven't the strength of character to do what they know to be right.
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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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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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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 like characters who have faults. I'm drawn to darker people.
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Malice delights to blacken the characters of prominent men.
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All a writer's characters are imaginary, no matter whether they are based on real people or not. They are people as one imagines them to be.
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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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The funny thing is you oddly don't really say goodbye to all the characters you've played. There's like a chest of drawers in your head that you can always access. They're always around. I'm not sure if that's healthy. But they're all there.
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The lives and deaths of characters in stories and poems, however tragic, help us to learn about the world and - if we are brave enough - to change it.
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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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I think it always makes for great television when two characters actually take time to realize that they want to be with each other. You have to leave it to the writers to know what makes great television.
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Nightclub City tells the behind-the-scenes story of Manhattan's glamorous nightlife at its peak. Packed with colorful characters, terrific original research, and an unusually accessible writing style, Nightclub City is a gritty social history of America's most glitzy fantasies.
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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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I loved the Scarecrow and the Tin Man and the Lion and you could kind of see the actors' faces in them. It wasn't an entirely new face sculpted around them. What made those characters so human and appealing to me was seeing those great actors underneath there. They weren't lost behind a bunch of appliances.
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I think I've proven with my career that I can play a wide variety of characters. Yet, I still get typecast as the crazy slob guy. That's how it always works.
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Michael Koryta is that rare author who is at once a compelling story teller and a fantastic writer. From the first sentence of THOSE WHO WISH ME DEAD, you'll be under his spell. His characters are living, breathing people you'll care about; his setting is a place you'll visit and stay-long after you've decided to leave because you're scared. You can't leave; you're trapped. There are too many nerve-jangling, beautifully written, razor sharp moments and you won't want to miss a single one. This is an absolute sizzler.
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I think the only productive way to approach characters, and frankly people in life, is through empathy. The minute we call someone a villain, we are choosing to part with empathy and that can be a slippery slope, both as an actor and a human being.
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In the stormy current of life characters are weights or floats which at one time make us glide along the bottom, and at another maintain us on the surface.
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When I walk down the street, even here in the U.S., they are always saying my catchphrases of my characters, and they shout at me with my catchphrases.
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Age, habits of business and experience have modified many characters.
