Characters Quotes
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I come to writing from hearing great stories as a child in Louisiana, where the mark of a person was his or her ability to be a raconteur. I also come to writing as a professional actress whose body has been trained to listen and smell and inhabit characters without judgment.
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Dostoyevsky wrote of the unconscious as if it were conscious; that is in reality the reason why his characters seem 'pathological', while they are only visualized more clearly than any other figures in imaginative literature... He was in the rank in which we set Dante, Shakespeare and Goethe.
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Once, Naseeruddin Shah told me that the wafer shop was the best acting school that I could have attended. And I completely agree. I observed every customer very minutely and picked up some quirk or the other. Later, I used those experiences while playing different characters.
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We are free when we are not the slave of our impulses, but rather their master. Taking inward distance, we thus become the authors of our own dramas rather than characters in them.
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The Universe is a dream dreamed by a single dreamer where all the dream characters dream too.
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Writers seldom choose as friends those self-contained characters who are never in trouble, never unhappy or ill, never make mistakes, and always count their change when it is handed to them.
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In our parts such characters sometimes turn up that, however many years ago you met them, you can never recall them without an inner trembling.
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Perhaps it's because I am reading romance differently than I did when I was younger, but I like my characters older. Grounded in reality. And nothing is more real than kids.
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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 do like when you find a true personal relationship with any of the characters, you like to make that honest connection. And every once in a while, there's that glimmer where you got that line in where something happens, where you get to really talk.
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None but the most blindly credulous will imagine the characters and events in this story to be anything but fictitious. It is true that the ancient and noble city of Oxford is, of all the towns of England, the likeliest progenitor of unlikely events and persons. But there are limits.
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I really enjoy the writing process because I can do it from my house. I can create these characters and take them in the different directions that I want to take them. You have a lot of freedom as a writer.
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So long as the spectator has to figure out the meaning of this or that person, or the presuppositions of this or that conflict of inclinations and purposes, he cannot become completely absorbed in the activities and sufferings of the chief characters or feel breathless pity and fear.
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Malice delights to blacken the characters of prominent men.
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From a purely craft standpoint, a simple character has a single motivation, while complex characters have two or three or more motivations, at least one of which is in direct conflict with another.
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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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If I claim I'm the opposite of my characters, then it'll just sound awful. But I tend to write the sort of things I'd never say because I'm not a very forceful person.
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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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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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When you play characters, you shouldn't just be putting on their characteristics - you should be finding it inside yourself.
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There's a lot of great writing, and characters, and stories being told in television nowadays. And much more than there used to be. The opportunities to tell stories, because of the opportunities to show content. And so it's drawing actors from cinema, movie actors, actors to where there's a lot of opportunities to where you can tell stories.
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The whole world had become a stage, in which the props were continually shifting, four extras reprising the roles of twenty-four characters and people I’d never seen before playing my most beloved ones.
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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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With historicals, the research is half the fun. Contemporaries are especially easy. People are right out there in front of you; you meet them every day. You can concentrate wholly on the story and characters.
