Character Quotes - Page 579

The difference of the English and Irish character is nowhere more plainly discerned than in their respective kitchens. With the former, this apartment is probably the cleanest, and certainly the most orderly, in the house.... An Irish kitchenis usually a temple dedicated to the goddess of disorder; and, too often, joined with her, is the potent deity of dirt.

There's this sense of being strange, which is at the heart of every creative person. Every writer, every actor, every director knows who Ripley is. We've made careers and lives out of pretending, making things up, inhabiting other people's stories and lives. That's what I do every day. . . . The story is so audacious and subversive: a central character who behaves badly and isn't apparently caught. That intrigued me no end.

In the years since I worked with John Hughes, there were many years where I literally had hundred of doors slammed in my face because I wasn't that kid anymore, and I wasn't a character actor, and I wasn't a leading man, and I wasn't whatever Hollywood was looking for.

In my own work, humor is necessary, for the reasons stated above, but also because forbidding your characters silliness, absurdity, irony, and vulgarity forbids them aspects of the human experience every bit as universal as sorrow.

A lot of people think I'm that guy in 'Betsy's Wedding', but I'm not. What it is for me is that, on some level, I connect with the character emotionally.

Authors have odd relationships with their creations They owe their fame and fortune to their characters but feel enslaved by them.

My father wasn't a cruel man. And I loved him. But he was a pretty tough character. His own father was even tougher - one of those Victorians, hard as iron - but my dad was tough enough.

I think there's a great storytelling tradition in the restaurant business that tends to attract people with an oral tradition of bulls - ting and bollocking. Creative people, people for whom the 9-to-5 world is not attractive or impossible. It seems that way. There are a lot of stories in the business, and a lot of characters - and it seems to attract its share of artists and writers and people who hope to do something creative in their lives.

It is necessary a writing critic should understand how to write. And though every writer is not bound to show himself in the capacity of critic, every writing critic is bound to show himself capable of being a writer; for if he be apparently impotent in this latter kind, he is to be denied all title or character in the other.

No one was ever the better for advice: in general, what we called giving advice was properly taking an occasion to show our own wisdom at another's expense; and to receive advice was little better than tamely to another the occasion of raising himself a character from our defects.

I love the long-form format of television. I love being able to develop a character, over a long period of time.

I don't care about sympathy. I care about playing a character who's understandable and clear.

I know the importance of highly trained awareness of the “moment” and the immediate and intuitive response of the photographer. It should be obvious to all that photographers whose images possess character and quality have attained them only by continued practice and total dedication to the medium.

There are certain stereotypes that are offensive. Some of them don't worry me, though. For instance, I have always thought that Mammy character in Gone with the Wind was mighty funny. And I just loved "Amos 'n' Andy" on the radio. So you see, I have enough confidence in myself that those things did not bother me. I could laugh.

My first serious attempts at writing were made in 1868, and I took up two very different lines of composition; I wrote some short stories of a very flimsy type, and also a work of a much more ambitious character, 'The Lives of the Black Letter Saints.'

There are certain early plays of mine that I really don't like, but I can't imagine going back and fixing them. I would be totally incapable of it. I'm not in the head of the characters anymore.

In a film, if you can capture what's going on underneath, you can begin to make a connection between the character and the people watching it.

The first-person viewpoint is more enjoyable to write, because it lets me meander more freely, and it can reveal more of the character's self-delusions. Really all the advantages are with first-person, so I'm sorry I don't get to pick and choose.

There's surprisingly little difference between writing from a male angle and from a female angle, but I feel more restricted in my language when I'm writing as a male character because males tend to sound less emotionally expressive than females.

I expect that any day now, I will have said all I have to say; I'll have used up all my characters, and then I'll be free to get on with my real life.

For my own family, I would always choose the makeshift, surrogate family formed by various characters unrelated by blood.

I write because I want more than one life; I insist on a wider selection. It’s greed, plain and simple. When my characters join the circus, I’m joining the circus. Although I’m happily married, I spent a great deal of time mentally living with incompatible husbands.

I consciously try to end my novels at a point where I won't have to wonder about my characters ever again.

I do think your attitude towards money is an inherent part of your character.

When I realized that Reuben was a young man who really wanted to be taken seriously, because he was dismissed for being too good looking or because he had too much money - his character really came to life for me. I began to understand that, and see that a lot of people feel this way - misunderstood because of their talents or gifts or background.