Quotes About Characters

Some of the things I love the most are when a writer or a visionary takes on sort of an iconic character and then spins it. Like with Frank Miller, Batman was this one thing for basically forty years, and then Frank Miller came along and said he can also be this other thing. And Christopher Nolan came along and said he can also be this other thing. The idea of taking iconic comic book characters or superhero characters or mythic characters and subverting the genre or coming up with a new idea is something that's really interesting to me.

'Orphan Black' allows for people to have debates and theories and allegiances to different characters; to trust characters and hate other characters, but it doesn't tell you who is good or bad or right or wrong. That's the most exciting storytelling in my book.

I feel like if you aren't honest and if you don't let go and ease up off of the narrator, then the story doesn't take up a life of its own, and the characters can't take up a life of their own. You handicap the story when you try to protect your characters.

It makes it very easy. I have a beginning, middle, and end, and I don't film for long - about 20 hours usually for a two-hour film - so it's easily watchable in a week for me and the editor. Once I know who the characters are, I only film those characters, unless somebody else forces their way into the film by a scene happening to them or we meet them by chance.

I don't think I ever relinquish a person I have known, and surely not my fictional characters. I see them, I hear them, with a clarity that I would call hallucinatory if hallucination didn't mean something else ... A character whom we create can never die, any more than a friend can die ... Through [my characters] I've lived many parallel lives.

I just want to keep finding special characters that I feel like I can bring to life and characters that are real and not superficial.

I know that shorter messages are better in terms of reply rate. The optimal length is something like 50 characters. Characters, not words.

Every actor, I don't care what they say, their roles are a lot more interesting than we are, and at the end of the day, it's still entertainment or fantasy. I think we can learn a lot from the characters we play and I find that the characters are even more noble than myself.

In drama, the characters should determine the story. In melodrama, the story determines the characters.

Nothing (at least that can be done by humans) immortalizes anyone. The Fault in Our Stars will hopefully have a long and wonderful life, but it will eventually go out of print, and eventually the last person ever to read it will die, and then the characters will no longer live in any consciousness.Also, that is okay. That is good, actually. That is how it should be. One of the things the characters in this novel have to grapple with is the reality of temporaryness. What Gus in particular must reconcile himself to is that being temporary does not mean being unimportant or meaningless.

I feel like we're looked at as either completely nonsexual characters or overly sexual characters, and I feel like that affects how we're treated in the public space by men. I believe that women of color experience street harassment in a very hyper way. So I wanted to draw these women in their very normal, regular states and put those images out there in the public for people to see, instead of these other, very sexualized, images of women.

That's a long way of saying no, I'm always too bound up in thinking about the characters in whatever I'm working on and trying to make good to dwell on characters from previous books.

Everybody has their different tastes with television - there are some characters people like, some characters people hate.

It's so important to create roles and characters and projects that feature black people in a way that's not specifically targeted toward the niche market, which is, like, a black movie is created and it's produced and pitched so that only black people will watch it ... I want to see dynamic characters and roles that everyone wants to watch.

Your characters are always your children. And while you are writing, you're keeping them safe. Now they're ready to go into the world and it's sad. I'm happy with the way the novel came out but all the characters' ending really saddened me.

What I like to do as an actor is transform. It's way more fun to play characters who are completely different than me. I like playing characters who appear one way on the outside but are actually very different from that.

I think having funny characters is just one way of having three-dimensional characters.

It's hard to know whether certain characters come to life or not, they either come to have their own life or they don't. I've written many things in which the characters just remain inert.

With all of the characters I've played, I feel like I've tried to communicate through my eyes and face, as much or more than with words. That's something that I like to watch in films, and something that I like to bring to the characters that I play.

Mostly the natural landscapes work as a sounding board for my characters, so they can understand themselves, and it acts as a mirror in which we readers see ourselves. The natural world is the place into which all my characters have to situate themselves in order to be who they really are, and that makes my rural fiction feel different from a lot of urban fiction.

Disney has a bible for their characters, so that people who draw Disney characters have to make them look correct.

I love playing characters that are bigger than life and maybe have a darker side that they present to the world. Those are good characters.

Where would David Copperfield be if Dickens had gone to writing classes? Probably about seventy minor characters short, is where. (Did you know that Dickens is estimated to have invented thirteen thousand characters? Thirteen thousand! The population of a small town!)

Dialogue is the ideal means of showing what is between the characters. It crystallizes relationships. It should, ideally, be so effective as to make analysis or explanation of the relationships between the characters unnecessary.

All the people in Star Trek will always be known as those characters. And what characters to have attached to your name in life! The show is such a phenomenon all over the world.

The two mistakes that come to mind are people who introduce a flood of characters in the first few pages. Where the reader has to stop and get out a flow chart and has to figure out who is who. And you just can't do that - introduce the first four generations of a character's family in the first chapter. You can introduce four or five characters at the most in the first chapter. Another mistake is to use big words that are not normally used in conversation to try to impress folks with your vocabulary.

I always start drawing any job by planning out to some degree the locales and trying to nail the characters. If they're existing characters, I'll draw them several times on rough paper just to get a feeling for them. The ideal when you're drawing a comic is to have everything in your head, not to have to refer to notes.

I just think of interesting roles to play. I guess that I have matured, I guess growing up and becoming a man, your taste in characters changes and I think I have become more interested in active characters as I have become less contemplative in my personal life. Things have become a little bit more interesting in the doing these days and less interesting in the thinking about the doing.

I love meeting booksellers and readers and hearing how they've read and received my stories. Often I'm surprised by which characters they've loved best, what scenes have stayed with them, what connections they've felt between my characters' lives and theirs.

When I decided to write a novel about Istanbul, I thought I should put the different faces of Istanbul into one book. I also put the characters in a cell, and it's three stories underground, rather than on the surface. The characters have one Istanbul, the other one is above ground. One is in dark, one is in light. That kind of contradiction - those opposite sides - creates a great energy in Istanbul.

Characters with no integrity are just as interesting as characters with lots of integrity.

At the end of the day I have many answers for it. It has to do with my mom, who was an extraordinary woman, and a great feminist. It has to do with the people in my life. It has to do with a lot of different things, but -- I don't know! Because I'm not just writing from the female characters for other people. I have a desire to see them in our culture -- that was not met for most of my childhood. Except occasionally by James Cameron. [From the 2011 San Diego Comic Con, in response to being asked why he writes strong female characters.]

You've got all these characters and yet, you're hovering over one character like a fly over a stinky diaper. Realize that you've got a kickass superpower: you can possess and take-over anybody inside the story. With the power of Point-of-View, you can drag us along for the ride. You can shove us into their eyes, their minds, you can force us to piggyback on their experiences past and present. Sometimes untangling a knotted-up tale means looking at it from different eyes: what better eyes than those of the other characters inside the story?

Characters make their own plot. The dimensions of the characters determine the action of the novel.

There are so many quirky characters, its easy to fall in love with any number of the characters on The Carrie Diaries.

In a novel there's not much autobiography. There are characters in transit. Naturally, I can project something of my experiences onto the characters, but they have their own autonomy, a personality that is often a mystery to me.

Good people can do terrible things, and that's what life is all about, the complexities and grey areas. And often characters aren't written that way in movies, especially characters for women. So you end up being either one thing or the other.

The thing about great fictional characters from literature, and the reason that they're constantly turned into characters in movies, is that they completely speak to what makes people human. They're full of flaws as much as they are full of heroics. I think the reason that people love them and hate them so much is because, in some way, they always see a mirror of themselves in them, and you can always understand them on some level. Sometimes it's a terrifyingly dark mirror that's held up.

People, you know, had trouble with the character. Mindy is not immediately likeable. She does and says a lot of things that you don't see in, forget female characters, any characters. Like, she says things like, "I'm going to hell because I don't really care about the environment and I love to gossip."

For the camera, I like the feeling of changing into different characters. Even though I'm not acting, I still have to be someone different to show the product. If I'm not being someone different, I won't find it fun. I love the shows because it transforms you into a different person. Not Malaika - it makes me someone else. Naturally, I'm quiet and crazy. But when they give me an outfit, like a very elegant outfit, it transforms me into this beautiful woman - I can feel it inside me. I like that, playing different characters. I'm really interested in acting.

I've wondered, though, if one of the reasons we fail to acknowledge the brilliance of life is because we don't want the responsibility inherent in the acknowledgment. We don't want to be characters in a story because characters have to move and breathe and face conflict with courage. And if life isn't remarkable, then we don't have to do any of that; we can be unwilling victims instead of grateful participants.

If you steal other people's characters, it doesn't work with the context of the scripts and what is written, so I wanted to make her my own. I was petrified, in the beginning, because it's such an iconic character, especially being a young lady myself.

There are many readers of the book, who don't know anything about the authors and the artists. There is more than one author. It doesn't matter, if you can't make the reader dive into the story and surround him with that environment and those characters. That's an experience that lasts longer than figuring out who did what. I think that's what makes our working relationship better, it helps us to make a book that feels unique and not like different voices.

I don't have to live the lives of my characters to write about them. It's about really putting yourself in their shoes.

I think, above all, the characters in my novels feel universal to the readers.

You spend your life training to be an actor, observing people's characteristics so that you can design characters around what you've seen.

I think people are tired of the CSI/SVU style of lurid and gory crime dramas. I believe there's a craving for lighter shows featuring detective characters who are fun to watch. I think people would welcome that kind of show.

I tried to photograph the mysterious, true and magical soul of popular Spain in all its passion, love, humor, tenderness, rage, pain, in all its truth; and the fullest and most intense moments in the lives of these characters as simple as they are irresistible, with all their inner strength, as a personal challenge that gave me strength and understanding and in which I invested all my heart.