Quotes of All Topics . Occasions . Authors
That has been everybody's challenge, above the dancing, the singing, the lines: getting into who these characters would be in 2015. Today's Tin Man is heartfelt, but he wouldn't be soft. Today's Dorothy would be sassy.
This is a work of fiction. All the characters in it, human and otherwise, are imaginary, excepting only certain of the fairy folk, whom it might be unwise to offend by casting doubts on their existence. Or lack thereof.
I am thrilled to write 'The Treasure Chest,' and to bring to life not only the childhoods of famous people from history, but also the characters of Maisie and Felix, who I hope you will fall in love with just as I have!
I am ready to go super bold. I would like to thank not just my husband but even my in-laws, who have had no problems with my bold characters. You may find it surprising that we all discuss my scripts on the dining table.
Wrestling ultimately comes down to what happens when the bell rings, and it comes down to athleticism, storytelling, and characters - and what we're doing in 'Lucha Underground' is the highest-quality wrestling out there.
In writing 'William Shakespeare's Star Wars,' I had the freedom to go beyond the original script and add asides, soliloquys and even new scenes. The main characters all get a soliloquy or two - or in Luke's case, several.
I populated 'The Bourne Identity' with real characters from American history, specifically characters from the Iran-Contra affair, which my father ran the investigation of. But at the heart of it was a fictional character.
A lasting marriage, they say, is one where the two reach for different sections of the Sunday paper. Me, I go right for the obituaries, just like those very elderly characters in Muriel Spark's spooky novel, 'Memento Mori.'
We don't ask the actor playing James Bond what his sexual preference is. So I don't know what it is, really, with trying to out actors who portray gay characters on television. But it is some sort of fascination in society.
We must consider the distinctive characters and the general nature of plants from the point of view of their morphology, their behavior under external conditions, their mode of generation, and the whole course of their life.
I have found it easier to identify with the characters who verge upon hysteria, who were frightened of life, who were desperate to reach out to another person. But these seemingly fragile people are the strong people really.
I loved 'WWF No Mercy' for the Nintendo 64. One of my favorites games was 'WCW Thunder.' I loved playing that game, and I loved being The Steiner Brothers. They were so cool, and they were some of the most powerful characters.
I'm a huge fan of Andy Kaufman. He made his living just being all sorts of characters, and nobody really knowing who the real Andy Kaufman is. And in a sense, I don't think any of you know who the real Trisha Paytas is either.
There's no reason to think Disney is going to stop wanting to make 'Star Wars' movies if there's quality and there's interest. It has unlimited potential. It has a huge number of characters, worlds... It's a massive playground.
Acting is an art form and you want to take roles that are challenged and it's more of a challenge I think to play dark characters. Not that I want to always play those, but it is a challenge and challenges are rewarding and fun.
In 'Mirror Mirror,' I played Prince Charming's side kick Renbock, who was pretty dandy, hapless and innocent. Other than that I've tended to play the complete opposite! I've played gritty, hard characters, generally tough people.
Every human being has hundreds of separate people living under his skin. The talent of a writer is his ability to give them their separate names, identities, personalities and have them relate to other characters living with him.
I think it's a great pity in the Anglophone world that we conflate cinema verite and Direct Cinema; they're, in fact, ontological opposites. In Direct Cinema, we create a fictional reality with characters and pretend we're not that.
'Into The Wild' had a great sense of wild, unpredictable freedom that I loved, and 'Unforgiven' is just a great western with characters that walked the line between right/wrong with an ambiguity that felt very true to frontier life.
Heart is what drives us and determines our fate. That is what I need for my characters in my books: a passionate heart. I need mavericks, dissidents, adventurers, outsiders and rebels, who ask questions, bend the rules and take risks.
The journey matters as much as the destination. By engaging in the moment on set, I've stopped rushing and now find pleasure in the collaborative process - the characters, the costumes - rather than worrying about the finished product.
The characters I play always seem eerily appropriate to where I am in my personal life at the time, and if they're not, there always tends to be this notion that I should be learning something to apply to my own life from these people.
I have never wanted a family. I don't believe in marriage, though I obviously believe it should be legal for everyone who wants to do it. But it is not something I believe in, nor do the characters in my book, nor do any of my friends.
There are certainly times when my own everyday life seems to retreat so the life of the story can take me over. That is why a writer often needs space and time, so that he or she can abandon ordinary life and 'live' with the characters.
I am, as are most writers, just hugely obsessive, and so are many of my closest friends, who tend to be writers or scientists. It's a trait of human nature that I'm particularly in touch with. So I tend to project it onto my characters.
Unlike life, you've got more or less complete control over what's going on in your stories. That's not to say you can make characters do whatever you want them to - they usually have a life of their own if you've done your job properly.
All the other characters are so well-rounded, and it's just frustrating because female characters aren't. It's not that they're badly written, they're just underwritten. They have no internal monologues; they could be absolutely anyone.
I'm writing about real things. Real people. Real characters. You have to believe what I write about is true or you wouldn't pay any attention at all. Sometimes it's me, or a composite of me and other people. Sometimes it's not me at all.
Apart from 'VIP' being a blockbuster movie, the various characters such as mine, the Luna bike I use in the movie, the lovable amma and appa, a pet dog named Harry Potter, the innocent brother, etc., had a huge reach among the audiences.
The constraints of melodrama can be a great blessing, because they demand that all the characters involved - as absurd and extreme as they may initially seem - must stay utterly rooted in their own reality, or the whole project collapses.
People like Frank Zappa and Bryan Ferry knew we could pick and choose from the history of music, stick things together looking for friction and energy. They were more like playwrights; they invented characters and wrote a life around them.
I don't want to adhere to any particular image. I have tried to bring in variety to my characters. But then, only a few actors have managed to earn this tag of a romantic hero. Many have aspired to get such a label. So I am not complaining.
Over the years, people have asked me, 'Do you think there should be a separate category for acting in the digital realm? Or hybrid sort of awards for digital characters?' and so on. And I've always really maintained that I don't believe so.
Don't set pen to paper until you know your main characters inside out. Create files detailing their appearances, likes, dislikes, and personal background. You may not use all the information, but it is a crucial step in planning your story.
Revision has its own peculiar pleasures and its own peculiar frustrations. The ground rules are already established; the characters already exist. You don't have to bring the characters to life, but you do have to make them more convincing.
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.
Even on a large ensemble where their parts are relatively small - because having ten main characters obviously affects their screen time - the thing that attracts great actors is when there is that challenge to get some reality into something.
I have been fortunate to have worked with immensely talented writers and directors who have had faith in me. There's been very little hard work but a lot of learning. I have learnt from each of my characters, and I think that's rather amazing.
The human mind has infinite capacity to rationalize, and evil characters just push that boundary a bit. Whatever they're doing, they think it makes sense to do it, and they think they have a good reason to do it. In short, they feel justified.
The reason I like 'Breaking Bad,' which is still probably my favorite show, is Walter White. You watch him transform, and that's so fascinating. And I think. a lot of TV shows that aren't successful, it's because the characters become stagnant.
The Uncharted' series really pushed me as a developer. They managed to raise the bar with every single release and produce an action- packed thrill ride starring characters I wanted to hang out with, and mechanics I can easily pick up and play.
With indies, all they have is their script and it's very important to them. The characters are better drawn, the stories more precise and the experience greater than with studio films where sometimes they fill in the script as they're shooting.
Allison Janney's character in 'The West Wing' was so rocking! I am a huge fan of Mary Louis Parker and her character in 'Weeds.' My manager says, 'you have to grow into yourself, Allison' because all the characters I want to play are, like, 39.
'Something Borrowed' is looking like a romantic comedy, but it's a comedy. It shines as a comedy; it's definitely not just about the romance. It's an honest depiction of the struggle between the characters. The comedy aspect will make it shine.
In the 'Buffy' room, it was never about a plot twist, ever. It was always about, 'Tell the story, tell the characters, complicate their lives, make things get worse,' but we never worked backwards from the plot, and it was always a great lesson.
On 'Adam Ruins Everything' we do the broadest sketch comedy possible. We do stuff where you can see it immediately and know it's a joke - characters in big silly costumes; here's Uncle Sam and he's twiddling his fingers saying, 'Oh, I'm naughty.'
You can have characters that say one thing and do another, and in certain kinds of drama, you can't get away with that because the audience will become confused - or certainly, the commissioners will become confused and tell you to stop doing it!
I feel like when the people in 'Insecure' are honest, the characters learn the most. This show has grown my cynicism a little a bit about relationships just because the way men and women responded to the fact that Issa was cheating on her boyfriend.
For me, there is a stigma attached to playing beautiful parts. They are often empty characters whom the action happens around. I'm more drawn to characters with a complex internal life, who have a burning frustration underneath that keeps them going.
Without sounding too cliche, my part on 'Getting On' is the best role I've ever had. It is so rich, it is so well rounded, and I am happy to be right here. I feel like I lucked out and got one of the richest characters on TV because he is so complex.