Character Quotes - Page 589

Fiction that intends to be something other than entertainment has a certain obligation, I think, to convince the reader, every time, that what is to be evoked - character, experience, idea - is worthy of his or her consideration, intellectual energy, close attention.

As a writer, I'm too busy and worried to experience the delight while composing my own work, although, of course, I hope a reader will find something of it when the work is complete. But I do try to figure out where in their experiences certain characters of mine, who are not necessarily readers, and certainly not writers or artists, find an equivalent sensation: of delight, of astonishment, of whatever it is that briefly - and brevity seems essential - reassures us, connects us, sends a shiver of inarticulate recognition down our spines: Oh, yes: life.

I think that inevitably, the trouble our characters go through is a kind of metaphor for what's happening in ourselves.

We have to give our poor, innocent, and undeserving-of-our-badness characters trouble in order to make them characters in a story.

If you have a character stand up and put on her shoes and open the door, in order to do that, you're imagining her shoes and her clothes and her house and her door. The character becomes more real. But once you've done that, you can probably just get it all across with a couple of details.

'Sightseers' started off as a character comedy double act.

In "Faithful," Ray Bradbury is discussed a lot. The characters read "The Illustrated Man."

In film, the camera can get an array of shots so the audience can see the emotion the character is giving off. Using close-ups on the characters face really helps get the message across. On stage, you cant do that. But the stage has that live feeling that you cant get anywhere else because the audience is right there.

When I moved to L. A. with this little wimpy garage band, the first people we met were the Doors. Then we met Jimi Hendrix, Janis Joplin. All of the people who died of excess were our big brothers and sisters. So I said to myself: How do you become a legend and enjoy it? The answer is to create a character as legendary as those guys and leave that character on the stage.

I liked Jim Morrison a lot as a person. He was this very poetic character, and death was always on his mind. And it showed up in his songs - I mean, almost every song he wrote had something to do with dying. He was an American treasure that went way too soon.

I feel like when you're dealing with your main character, it has to be relatable and feel grounded, and that's the kind of acting I like to do anyway.

It's weird, not to sound too actor but I think that any time you do a performance, you kind of take a little piece of that character, cause it's a part of you you're using.

We're well past the end of the century when time, for the first time, curved, bent, slipped, flash forwarded, and flashed back yet still kept rolling along. We know it all now, with our thoughts traveling at the speed of a tweet, our 140 characters in search of a paragraph. We're post-history. We're post-mystery.

Algebra reverses the relative importance of the factors in ordinary language. It is essentially a written language, and it endeavors to exemplify in its written structures the patterns which it is its purpose to convey. The pattern of the marks on paper is a particular instance of the pattern to be conveyed to thought. The algebraic method is our best approach to the expression of necessity, by reason of its reduction of accident to the ghostlike character of the real variable.

Every epoch has its character determined by the way its population reacts to the material events which they encounter.

I do remember being a fan of the Marvel characters and not liking the DC characters at all.

Character actors aren't a brand in the same way that high-profile leading men are.

If you are inclined to leave your character solitary for any considerable length of time, better question yourself. Fiction is association, not withdrawal.

The ones I love most are the people who the flaws show. I like doing characters that we see the total person. If people get afraid to show the flaws because they think, "Oh, then nobody will like them," then you end up with a lot of products, and everybody wants to be frigging heroic all the time - not what people are trapped in every day, like your skirt being in your panties after you walk out of the bathroom. Being human. Sometimes when people are drawn to your work, they're drawn because they recognize themselves or their loved ones or their neighbor in it.

Musicals and horror films can be very non-verbal and very pure cinema with movement. The camera is justified in being a character. It can really move and tell a story, and literally direct you to look here or there.

Personally, my taste is towards development of a character, as well as the resolution of a story plot. I like to find both, if I can.

In the United States, if a political character attacks a sect, this may not prevent even the partisans of that very sect, from supporting him; but if he attacks all the sects together, every one abandons him and he remains alone.

The character of Anglo-American civilization . . . is the product . . . of two perfectly distinct elements that elsewhere have often made war with each other, but which, in America, they have succeeded in incorporating somehow into one another and combining marvelously. I mean to speak of the spirit of religion and the spirit of freedom.

Casting is so important in horror. It's so important to have strong actors to tell a story because, if you don't believe in the character, how can you be scared for them?

I'm always on the side of the characters, rather than the side of the people attacking them. I get realistic. It's not gratuitous.