Character Quotes - Page 560

You don't really have a story until you discover the moment when the pressures on a character force a sudden, abrupt shift in direction and she falls through the net that has so far held her in place.

Helen Lowe writes wonderful stories, yes, but her work also speaks with lyricism to deeper questions of how we treat each other. With lovely prose that brings vivid life to her characters, she creates a universe with people we care about. This is an author with a gift for fantasy.

I often have a few scents depending on if I'm playing a character. The character may be wearing a scent that perhaps I wouldn't wear. We've all got different moods and ways we want to express ourselves; scent is a very powerful way to let people in to your secret life.

I've got a funny old face. Someone described it once, and I think they were being kind, as character. But I know what they mean! I've never been that conventional. I suppose maybe it means that my face can look different in different lights, so I just try and sort of keep it simple when I'm going out, to still look like me.

I'm just happy there are characters in the world. I think that anybody who's completely nuts and makes the world a more interesting place is good by me, as long as they're not hurting others.

Sometimes minor characters are based on people I know, on friends of mine. But I'm not writing a thinly veiled version of my own life.

I don't think I ever intended specifically to write for the young adult market. It's just that when the idea for City of Bones came to me, I knew the main characters were teenagers. In my mind they were just very clearly the ages they were, which turned out to mean it was a YA novel.

Sometimes when you cannot decide what to do, you pretend to be a character in a book, because it is easier to decide what they would do"-Cassandra Clare

You could know a man not by what his friends said about him, but by how he treated his servants.

I think the main thing to remember when writing a novel is to stay true to the characters.

I have specific playlists for different books and characters. So, I need to have those with me. It helps me get into the mindset of the book.

There is no cure for fictional character love, but the plus side is that it is an entirely benign disease with no bad side effects.

It's more like there are some really obvious things that are different and then lots and lots of smaller things, lots of things about who lives and who dies, civilizations that rose and fell, all the way down to individual characters. That becomes the state of where you left your galaxy. The endings have a lot more sophistication and variety in them.

For people who are invested in these characters and the back-story of the universe and everything, all of these things come to a resolution in Mass Effect 3. And they are resolved in a way that's very different based on what you would do in those situations.

Actors are always looking for ways to build a character.

Playing Japanese characters and being in environments that are Japanese, like a character's apartment or whatever, if you have directors or art directors who just don't know what' s what with Japanese culture, then pretty soon something's just passed through. I've been through many times where I've pointed out the incorrectness of so much of what's been done to a set.

I'm not a method actor, I don't write my character's history or all those kinds of things. I'm more about the 90 percent of the brain that is subconscious. I like to just pick certain pieces, let it soak in, and then let it kind of emerge out.

I think auditions are set up for failure because they're not really the set experience. There's no time to develop the character. You're just looking at someone... if someone's really good in an audition, sometimes they're not good in the film. It's something you learn when you're doing short films. It's the same way that some people do well at taking tests and some people don't. But when you're on a long-term filmmaking process it's a completely different feeling.

If you get into the area of judging the character you're playing you're getting into a sticky area.

I feel like if a film is well-written, then the character's arc is complete. There really is very little room to expand on that afterwards.

No one is black and white or good or bad or happy or sad or what have you. [All have] particular idiosyncrasies that make them fascinating and that's how I tend to approach a character.

I was blessed enough to meet Pope John Paul when I was about 19 or 20 years old in the Vatican; I had that privilege, .. My mother took me to visit him and I remember distinctly his incredible charisma and personal charm and his warmth and compassion. You felt it immediately the minute you met him, and that spirit I came away with, having met the man, is something that I've been constantly working on to infuse the character with, so that we can have his spirit and his love and his compassion, because that's really the essence of the man.

The writer by nature of his profession is a dreamer and a conscious dreamer. He must imagine, and imagination takes humility, love and great courage. How can you create a character without live and the struggle that goes with love?

It was fun yet challenging to play the dual roles. I'm a really nice guy, and the character [of Dubious] is egocentric and hard-edged, so I had to pull out the negative aspects of me to attribute to the role.

When I was eight years old, I played a story game with my younger brother and sister to help them fall asleep. The 'word-story game' was where they would choose a word and I would create a story. Acting and directing are similar to this game, where I am given the words then I fill in the life of the characters.