Quotes of All Topics . Occasions . Authors
Sometimes I will read the whole script just to see what my character is doing, but I won't touch a script that I'm not in because it's just so much more exciting as a fan to me to watch the show as it's happening.
I learned a long time ago that you don't have to go around using bad language and trying to hurt people to show how macho you are. That stuff won't get you anywhere, it just shows lack of vocabulary and character.
I want to feel that my characters evolved into a place that they deserved, that was sometimes unexpected, but where I would feel satiated that logically they have come to a conclusion that makes me feel satisfied.
It's easier to play a dim character, for me, because I have a natural bent for comedy. It's not intrinsic for me to be crafty, so I would have to go outside for a source of origin. I think of myself as pretty dim.
Each character requires different language, and these issues become inseparable. You have all these balls in the air: language, character, narrative. For me, the primary focus must be words, sentences, paragraphs.
Fiction writers learn about the development of metaphor, the use of rhythm, the way that language is compacted in order to express the feelings of - express their own feelings and the feelings of their characters.
I always wanted to be a writer! But I wanted to do other things, too - be a psychologist, a librarian, et cetera. Now Ive decided that reading fiction that features characters who are in those professions will do.
This is the Bond of the new millennium. Everything is updated, from the action sequences to the interaction between the characters. All the elements reflect changes that have occurred in the world in recent years.
I think it's a bit like coming to the end of a book. The plot's in its thickest, all the characters are in a mess, but you can see that there aren't fifty pages left, and you know that the finish can't be far off.
There is no barrier to Indiana Jones growing older. It's not an age-based character. We can't bang him up as much as we used to, maybe. But I guess I can pretend to have the capacity as well as I pretended before.
You see, when we talk about perfect trust, we're talking about what gives us roots, character, the stability to handle the hard times. Trusting God doesn't alter our circumstances. Perfect trust in Him changes us.
I was generally pro-bat, except when I was trekking through the dark trying not to think about the dire fate of every horror movie character stupid enough to go into the dark with a flashlight and check the fuses.
Stories twist and turn and grow and meet and give birth to other stories. Here and there, one story touches another, and a familiar character, sometimes the hero, walks over the bridge from one story into another.
It was a challenge to be able to create a character without being able to use one's normal set of expressions. All the rubber and makeup attached to your face left you with only a modest range of facial movements.
Americans want to defeat terrorism and they want the basic character of this country to survive and prosper. They want both security and liberty, and unless we give them both, and we can if we try, we have failed.
Once you have invented a character with three dimensions and a voice, you begin to realize that some of the things you'd like him to do to further your plot are things that such a person wouldn't, or couldn't, do.
The character I play in Star Quality says acting is the be-all and end-all of her life. I'm not like that. I do enjoy working and I give every job my best shot but I never feel, What on Earth am I going to do now?
Some writers, notably Anton Chekov, argue that all characters must be admirable, because once we've looked at anyone deeply enough and understood their motivation we must identify with them rather than judge them.
Crime fiction makes money. It may be harder for writers to get published, but crime is doing better than most of what we like to call CanLit. It's elementary, plot-driven, character-rich story-telling at its best.
Always when I directed the play, I was always trying to cast people not who were necessarily like the characters, but people who I felt had the essential component that the character had, some kind of soul for it.
It feels great and it's very beautiful when you can bring someone of your own nationality into a story, where even the historic element of it is important. I loved that I could use my own accent for the character.
I always go with the story and character and if those are good and if the setting is something that's scary (horror films seem to always take place at night and the weather's always bad) then I might be interested.
People are infinitely more interesting than characters that I come up with. Because the characters I come up with are basically combinations of people I've met. Combinations. You select certain details, that's all.
If we had any nerve at all, if we had any real balls as a society, or whatever you need, whatever quality you need, real character, we would make an effort to really address the wrongs in this society, righteously.
I'm a fan of the fan. I'm a fan of the active devotee who lives his life believing in something, who represents to me the character of a person that is very confident and sure of himself. Those are people I admire.
You don't want to be ungenerous toward people who give you prizes, but it is never the social or political message that interests me in a novel. I begin with an interest in a relationship, a situation, a character.
The depth and strength of our character is defined by our moral code. People only reveal themselves when they're thrown out of the usual conditions of their lives. That's when the truth of who they are is revealed.
I've learned a lot about stage-managing for illustration. Sometimes you have to delete characters from a scene just to keep from overcrowding the image. I've also learned to making big-scale design decisions early.
The concept of writing a novel and not knowing where it's going - I don't know how to do that. Novels are plot- and character-driven, so if I don't know what becomes of people, how can I know where it should begin?
Then I got the offer to play Buck Rogers, but I turned it down thinking it was a cartoon character. Well I was wrong, it wasn't at all. So I read the script and decided I liked the character, it had a good concept.
I watch these actors who when you go to buy a pint of milk you see them smiling on the cover of 20 magazines. Then when you see them in a film it's hard to believe the character because you just see them everywhere
You're always working in the movie. Never was I me, and never have I been me, nor was he him. We were the two characters. But the character that I was playing was informed by my DNA, looking at him informed by his.
When you come onto the set, everything should be focused around your character and you should stay in the pocket, as much as possible. Every actor has their own process. For me, I really need to stay in the pocket.
I try to be eclectic in my choice of films. If I've done anything that's intentional in my career, it's to try to do as many different types of characters and as many different types of genres of movies that I can.
I just sort of take it from a character perspective, and I don't know if he was necessarily spiritual, but I do think he had hope. He was a character that was comfortable having hope in his life, and hope is faith.
Don't be didactic - don't write about poverty. Write about poor people. When you dramatize their lives and let life and characters be your inspiration, you will express the 'idea' dynamically and without preaching.
They [comic books] are not a genre, they are not something to get hot and cold from one year to the next, they're the exact same thing as books and plays: they are a source of great stories and colorful characters.
In revolt against this new and very evil thing came the republicanism of the eighteenth century, inspired and directed in large measure by members of the fast perishing aristocracy of race, character and tradition.
The futures and ultimate fates of the characters in The Snow Queen are profoundly changed by choices made in their own minds or hearts, as well as choices unexpectedly forced on them by things beyond their control.
When you're doing comedy, you're not trying to be funny. I think things are funny when the character is taking it totally seriously. I think when people are winking, it becomes slapstick, it becomes something else.
How it shaped my perception is this: I have become so indelibly identified as a character in pop culture that it has forced me to go deeply within myself to get a very very rock solid sense, to myself, of who I am.
You will feel discouraged; you will lose confidence in your abilities; you will be bored with the characters–and the only way to overcome these obstacles is to write your way through them. And writing always works.
Screenplays are not writing. They're a fake form of writing. It's a lot of dialogue and very little atmosphere. Very little description. Very little character work. It's very dangerous. You'll never learn to write.
Keep carefully not of all scrapes and quarrels. They lower a character extremely; and are particularly dangerous in France, wherea man is dishonoured by not resenting an affront, and utterly ruined by resenting it.
At some level, you've got to have the ability to - especially in film and in front of the camera, you got to have the ability to drop into character and close off the entire crew and the camera and everything else.
Well, thank you and that's for them, but for me, I want to look back at a body of work where when you do the research and you explore the psyche of a character, where she's been, where she is and where she's going.
There are no new stories. It all depends on how you handle them. In romances the characters are going to fall in love with each other; you know that when you see the syrupy cover. It's how get there that's the fun.
William Shatner has one style. We have completely contrasting personalities. We're very good friends. I adore him, but we're very different people, so they were smart enough to write characters that reflected that.
Society asks of most men more than sheer intellect ability-it demands also moral hardiness, self-discipline, a competitive spirit and other qualities that in more old-fashioned terms we might simply call character.
Writing for the theater is a whole different can of fish. The music now has the responsibility of so many things. The plot could be giving you different views of the character; the emotional highlights of a moment.