Character Quotes - Page 514

I'm usually a panster and throw ideas down on computer the second they hit my brain. I even had to get off the treadmill to write down my ideas. It's a great place to 'zone out' and think about my plots and characters.

As the audience, I always love to get to a point where, surprisingly, I find myself in a secret friendship allegiance with the characters that are unexpected.

I love the gothic literature. It always has such great stories with characters bigger than life and the stakes are always high. And because there's always a wolf at the door, the emotions are high; the romance, the sexuality, friendships, and relationships. You don't know if the guy kissing you one minute is going to bite you the next. This heightens all of the sensibilities and emotions, and therefore, it sings to me. And that's where the music comes from.

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.

I enjoy the kind of characters that allow you to write the dark stuff. I love Rachmaninoff and Tchaikovsky, and when I'm writing for Dracula or Jekyll & Hyde, I get a chance to use that vocabulary.

I like looking at the characters. Seeing them always brings up some voice or attitude. I am much more visual, and that works so much better than having someone tell me what the character is all about.

The primary reason people watch television is you want to see the world through somebody else's eyes, and learn what that's like. You can only live one life, and so you get to see other lives through these characters.

Create a really interesting, complex person that you want to know more about, and take her on a journey that is rich and fulfilling and that has an end that is perfectly fulfilling, and that has an end that is perfect for that character, and the audience will love it.

The challenge is creating a character that's rich and interesting to warrant following for a number of years.

If I'm intimidated, I shouldn't be directing a movie. I gotta treat 'em as characters, not as stars. It's hard to not treat Marlon Brando as a legend, a star, it's difficult not to treat Robert De Niro as a star, but that had to go away very fast after I knew them, because I had to work with them. I'm the director, I'm the boss. They're looking to me for guidance.

When I'm writing a comic book, I'm thinking about a character that I'm going to be drawing on the page. I've never drawn a character to look like who I want to cast in a movie because I don't think that way. I'm a real monomaniac. I do one thing at a time.

I don't own an ounce of the work I've ever done on 'Batman,' and I still work on 'Batman.' I love the character, I think it's a lot of fun, and it's kind of fun to be in that ballpark every once in a while, where you're seeing a different crowd.

It's one thing to be sitting at a drawing board, alone in your home and coming up with a fantasy character, and drawing her whichever way you feel like drawing, then dealing with a real performer. All of a sudden, things change. It's amazing, in working with actors, how much I learn from them and how many new lines will come to mind because of their personality or their strengths.

My job as an actor is to serve the script. If I'm looking at it as to see what the best character is, then it's not really looking at the big picture.

If it's just the voice, then you can only do jokes. It's not really even about the impression so much. It's about the take and what you do with the person. I try to get a character across with the impression.

At 24, my head was as shiny as a cue ball on a billiard table. I naturally thought this meant curtains. Actually, I found it helped. When I was too young to play real character parts, they mistook me for older because of the bald noggin. I got juicy roles right from the start.

From my sketch files I'll find a pose that shows the emotion behind a particular character's story.

For example, I like using strong Greek and Roman Renaissance characters as part of my series.

My love of pleasure seems to be the only consistent side of my character. Is it because I have not read enough?

Our enemies' opinion of us comes closer to the truth than our own.

The qualities we have do not make us so ridiculous as those which we affect to have. [Fr., On n'est jamais si ridicule par les qualites que l'on a que par celles que l'on affecte d'avoir.]

Making a movie is about following characters and embarking on an adventure with them, seeing their reactions, and seeing what they do, having empathy for those characters, feeling for those characters, embarking on this adventure.

My mom. She was quite a character. Open-minded. It was a very small town, and she started her own business, manufacturing children's wear. She was very dynamic. Her death was like the umbilical cord being cut. That's when I moved to America.

In Philosophy, the contemplations of man do either penetrate unto God, or are circumferred to Nature, or are reflected and reverted upon himself. Out of which several inquiries there do arise three knowledges, Divine Philosophy, Natural Philosophy, and Human Philosophy or Humanity. For all things are marked and stamped with this triple character of the power of God, the difference of Nature and the use of Man.

So perhaps the correct conclusion is that Green was less attuned to how people sound when they speak - the actual words and expressions they employ - than to what they mean. This notion of dialogue as a pure expression of character that...transcends the specifics of time and place may be partly why the conversations in the works of writers such as Austen and Bronte often sound fresh and astonishingly contemporary.