Quotes About Characters

Part of the success of the show is that the audience sees themselves in the characters, becomes the characters. The more they inhabit the characters, the more they see

I look at all of world mythology and folklore as my toy to play with. There are just so many characters and creatures there I want to put on paper. It's a really exciting thing for me to take material that I really love and put a new coat of paint on it and present it to this audience. And I don't have to make up any of the characters. I can just pull a book of mythology off the shelf and say, "I'll use this guy." I also hate making up names for fantasy characters. I'll just flip through these books and say, "Wow, this is way crazier than anything I could make up".

I like characters. I like spirited characters whether they exist in fiction or real life. Whether they're the invention of artistic people or directors, musicians. I think music and art and fashion designers inspire me and I like characters.

I think that I write much more naturally about characters in solitude than characters interacting with others. My natural inclination - and one that I've learned to push against - is to give primacy to a character's interior world. Over the three books that I've written, I've had to teach myself that not every feeling needs to be described and that often the most impactful writing more elegantly evokes those unnamed feelings through the way characters speak and behave.

I love characters that are going through turmoil. To be honest, I love characters with conflict. I love characters who are really going through an emotional journey; whether it's a super-dark-crazy journey or a really relatable guy.

Respect your characters, even the ­minor ones. In art, as in life, everyone is the hero of their own particular story; it is worth thinking about what your minor characters' stories are, even though they may intersect only slightly with your protagonist's.

Where are the flamboyant characters?! This is what America desperately needs right now! Flamboyant intellectual characters who can cut different ways. And, that's just what I'm missing.

Eve Byron has a permanent place on my must-buy list. Her characters are three-dimensional men and women who live on in readers' hearts long after they've turned the last page. ONLY IN MY DREAMS is pure Eve Byron, which means it's a pure delight. I fell in love with Lorelei and Dane, two of the most delightful characters I've encountered in a very long time. Byron's magical touch never falters. ONLY IN MY DREAMS is a surefire hit!

I think people are a mixture of everything. I like desperate characters because they do things that most of us normally wouldn't do. If a character is a scoundrel or a liar you think you know them, but then I can bring some emotion to them and they become much fuller than you ever imagined. So what I try to do is have a story where you don't quite know where it's going, and characters who you don't quite know where they're going.

I always try to keep in mind that while the characters in a farce may find themselves in outrageous dilemmas, and may behave in a way that the audience finds amusing, the characters themselves don't have the consolation of knowing they're in a comedy.

The life story of the five main characters and the secondary characters around them allows Jonathan Franzen to present the full impetus and extent of the world picture of the West at the end of the 20th century.

Damita Jo. Jo. That's my middle name. It's let in about the different characters that live within me. They say we have 200 characters that we portray with different people.

Authors also create lovable, friendly characters, then proceed to do terrible things to them, like throw them in unsightly librarian-controlled dungeons. This makes readers feel hurt and worried for the characters. The simple truth is that authors like making people squirm. If this weren't the case, all novels would be filled completely with cute bunnies having birthday parties.

Ultimately, any character you write - no matter how fantastic or alien - is an extension of yourself. When our characters reflect the truth of our souls and psyches, they become real and compelling. The wonderful paradox is that the characters then take on lives of their own, separate from their creators. That's where the magic comes in.

I rarely return to characters. My characters, at least most of them, are much more a part of that superorganism that is the story than separate and independent creatures.

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

In terms of the characters, I definitely do look for somebody that I think people can learn from and I can learn from too. In one way or another, by the fact that they are a role or by that fact that they aren't a role model. I feel like I was attracted to the past few characters that I've played, because they have an element that really touched my heart.

I enjoy playing a quintessential antihero. There's something therapeutic about playing such characters. I know it sounds corny but I feel like I learn about myself when I play that characters.

Google and others truncate headlines at 70 characters. On the Manti Teo story, Deadspin's scoop fell down the Google search results, overtaken by copycat stories with simpler headlines. Deadspin's headline was 118 characters. Vital information - 'hoax' - was one of the words that was cut off.

You must create the character's internal life. What do I mean by internal life? I mean the thoughts, feelings, memories, and inner decisions that may not be spoken. When we look into the eyes of actors giving fully realized performances, we can see them thinking. We're interested in what they're experiencing that may never be spoken, that quality of nonverbal expression - which is as much a part of the characters as breathing and as real as what they say and do. This is their internal life. It helps us believe in the characters and care about them.

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.

All films created by Walt Disney at the time of his major outpouring of work were carefully crafted to fit scenes, characters, moods and situations. If these elements changed in any way, songs - no matter how good they were - were discarded. Others were written for the new scenes. Many times, character songs were dropped because characters were dropped...sequences were dropped etc.

I believe the only way a writer can keep himself up to the mark is by examining each story quite coldly before he starts writing it and asking himself if it is all right as a story. I mean, once you go saying to yourself, 'This is a pretty weak plot as it stands, but I'm such a hell of a writer that my magic touch will make it okay,' you're sunk. If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.

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.

When I look at my body of work, I've played a lot of characters who are morally conflicted - 'I'm right, no I'm wrong, I don't know what to do!' I want to play more characters who don't care as much, and who aren't as measured. They are what they are, no apologies.

I think all great comedies - or at least the comedies I like - it has some of the funniest moments, but it never breaks the spell for the audience. It never pushes the audience away by spoofing itself too much or undermining the characters or making them cardboard or flimsy. Everybody is really trying to do what their characters believe in - and so nobody breaks the spell of the world, even though in other ways it's a comedy and very funny.

Im doing pretty good as far as geniuses go ... Im like a machine. Im a robot. You cannot offend a robot ... Im going down as a legend, whether or not you like me or not. I am the new Jim Morrison. I am the new Kurt Cobain ... The Bible had 20, 30, 40, 50 characters in it. You dont think that I would be one of the characters of todays modern Bible?

One thing about our show that wasn't even in my awareness, but was brought to my attention by other people, is that our show is about these love-based relationships. Even though the characters are obviously going through different conflicts, you can really feel that the characters love each other. And they really try their best.

I dont really like simple characters too much; its too easy. I like a challenge, and I like characters you connect with on screen.

In displaying the psychology of your characters, minute particulars are essential. God save us from vague generalizations! Be sure not to discuss your hero's state of mind. Make it clear from his actions. Nor is it necessary to portray many main characters. Let two people be the center of gravity in your story: he and she.

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.

Danny Boyle has been a huge, has had a huge effect on me. His movies, early movies like Trainspotting and those movies. So I've always loved the energies of those movies. But also, that they are very focused on the characters. Cause it's not only gimmickery, it's not only about visuals. You feel a real need, a love for the main characters. So that's what I've always loved about watching movies myself.

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

I think bringing depth to characters means really needing to find out who this girl is, what is she passionate about, what makes her tick, what gets her going in life. So I did a lot of backstory for who she was and sometimes it comes across screen and sometimes it doesn't. You never know, because you're not the director, but you can only do your work and hope that it somehow subtly is infiltrated in that. But I think the characters I've played for the most part have depth, just not in the way that you think they do.

It is the genus that gives the characters, and not the characters that make the genus.

I love it when characters surprise you, just like real people. When I write a scene I just try to make the characters behave in a way that feels natural to them. Sometimes that means they make a left turn and do something unexpected. Those are always the best scenes in my opinion.

I feel like I've been very lucky with the directors. The characters I've been offered, especially lately, have given me the opportunity to play all of these different women. I always wanted that, and it's something that you cannot do by yourself. If you want to play a diversity of characters, somebody else has to have the imagination to give you a role completely out of the box. We depend on somebody else's trust, and these directors are giving me their trust, and I am grateful for that.

I think, when I'm writing, I have a more clinical view than I do when I'm reading. I like pretending to be God and basically determining the fate of my characters. But as a reader, I'm a sucker. I'm very sentimental. I get upset when people that I like die. And yet I have killed off characters in my books quite heartlessly, and sometimes found that readers were very upset by it.

My role in 'Legally Blonde' was really rewarding, because I had so much fun working on the movie. I've had really rewarding experiences on tiny low budget films that you'll never see but where I had a cool time creating characters as well. I love almost all of the characters I've played.

One of my favorite scenes in Fellini is the ecclesiastical fashion show in Roma, and the end of 8 ½, when all the characters in the life of Guido, Marcello Mastroianni, get together and do this grand procession. That was on my mind, especially at the 45th anniversary, when all those characters in Valentino's life returned to Rome. I kept watching that and saying, if only we can arrange that grand procession at the end...and it kind of happened.

One never knows enough about characters in real life to put them into novels. One gets started and then, suddenly, one can not remember what toothpaste they use; what are their views on interior decoration, and one is stuck utterly. No, major characters emerge; minor ones may be photographed.

Action is a way of externalizing an emotional state. You might not be running, leaping, climbing and doing all that. But, the way you create that emotional state in a movie is by having the characters have physical jeopardy that they have to work against.

That's another great thing about Think Like a Man picture. The cast is predominantly African-American, but color is never really an issue in the film. It's rarely brought up since, at the end of the day, these guys are going through universal relationship issues that anybody can relate to. So, while the characters like "The non-committer," "The Player," and "The Dreamer" might be recognizable as common stereotypes, color isn't involved.

The most important thing as a comic and a writer is to have a strong point of view. I have one and can recognise it in others which is why I can write for other people and different characters that I perform.

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.

My publisher feels that my readers are loyal to the voice of my stories, the characters I'm creating.

I've just finished a series of Olivia Manning novels. She's best known for two trilogies: Balkan Trilogy and Levant Trilogy. The six novels are continuous and contain the same set of characters. They are based on Manning's experiences in Eastern Europe and Egypt during the Second World War. Each novel is a wonderful picture of the peculiar British expatriate culture and what was happening during the war. She's one of those brilliant women who write very well about domestic relationships. All the books are slim, and it's easy to gallop through them.

I was like the class clown in school so I guess I would say I did like the attention. In church I did a lot of plays, my mother made me play characters, do a lot of drama and acting, trying to become someone else. So it helped me create who I am, to create Snoop Dogg.