Character Quotes - Page 590

I think all writers are always collecting characters as we go along. Not just characters of course, we're collecting EVERYTHING. Bits and pieces of story. An interesting dynamic between people. A theme. A great character back story. A cool occupation. The look of someone's eyes. A burning ambition. Hundreds of thousands of bits of flotsam and jetsam that we stick in the back of our minds like the shelves full of buttons and ribbons and fabrics and threads and beads in a costumer's shop.

I look at comic books, and I do very eclectic mood boards with ideas and images that have to do with a character or story point. It's a bit like spinning plates. You gradually just steal your ideas.

Usually when you start the characters, the first thing is the script. Your design work is about telling the story. It's later that casting comes into play, but it's a huge component.

It's true, I do love the semi-epiphany. For example, in "Fall Line," the character's final decision is less epiphany than imbecility. He makes a choice, which the conflict hangs upon - whether to seek fame or actually change his life - and so, his decision is tied to the central conflict and his own hubris.

We're being asked to continually be "authentic" and "honest" with the world through social media. There's a demand to post our wedding pictures, baby pictures (only minutes after the birth), our relationship status, and our grief and joys on Facebook and Instagram. Similarly, we construct persona through dating apps and networking sites. All of these social media networks exert pressure on us to share the personal details of our lives with unknown masses. So the pressure on the characters in "Openness" isn't merely romantic, but public/social as well.

We shuffle out of office buildings after being laid-off by draconian bosses; we sit on hold for ten minutes only to be told by a supervisor that the charge on our cable bill can't be removed; we click a crying emoji on Facebook as our last whimper of protest. So rather than end the story ["Ice Age"] with the expected violence and destruction of evil, I wanted to focus on the way the characters end up sabotaging their own community though their attachments to the consumerism of the old world.

Not on the stage alone, in the world also, a man's real character comes out best in his asides.

I was nervous when I first started True Blood because if you do a play or a movie, you know the complete arc of the character. You can see the end. But with a show like True Blood, you don't know what's going to happen.

Good-humor only teaches charms to last, Still makes new conquests and maintains the past.

Two women seldom grow intimate but at the expense of a third person; they make friendships as kings of old made leagues, who sacrificed some poor animal betwixt them, and commenced strict allies; so the ladies, after they have pulled some character to pieces, are from henceforth inviolable friends.

Beauty that shocks you, parts that none will trust, Wit that can creep, and pride that licks the dust.

Tis from high Life high Characters are drawn; A Saint in Crape is twice a Saint in Lawn: A Judge is just, a Chanc'llor juster still; A Gownman learn'd; a Bishop what you will; Wise if a minister; but if a King, More wise, more learn'd, more just, more ev'rything.

I spend a long time casting, but once I've cast a film there's a reason why I selected those people. So I'm hands-on in selecting the cast, hands-off to see what they do with their characters, and hands-on again to offer suggestions.

Some of my characters are a mixture of various aspects of people I have met. others are pure invention.

Any author of fiction will tell you that characters don't need to be told what to do.

As a writer, you have to realize that people want to like the characters, so you have to be careful to keep them involved.

I'm hesitant to do leading man character roles because I think they can be a little boring in terms of needing to be the everyman who navigates the amazing stuff around them.

My manager got the script for Under the Dome, and I read it and just fell in love with the character. I grew up on Stephen King, and I love his whole aesthetic of the classic American story with supernatural events happening, so it just made sense.

In so strong a light, nevertheless, do they appear to the Secretary, that, on their due observance, at the present critical juncture, materially depend, in his judgment, the individual and aggregate prosperity of the citizens of the United States; their relief from the embarrassments they now experience; their character as a people; the cause of good government.

That this gentleman [President John Adams] ought not to be the object of the federal wish, is, with me, reduced to demonstration. His administration has already very materially disgraced and sunk the government. There are defects in his character which must inevitably continue to do this more and more. And if he is supported by the federal party, his party must in the issue fall with him.

It is impossible not to bestow the imputation of deliberate imposture and deception upon the gross pretense of a similitude between a king of Great Britain and a magistrate of the character marked out for that of the President of the United States. It is still more impossible to withhold that imputation from the rash and barefaced expedients which have been employed to give success to the attempted imposition.

It may be said that the power of preventing bad laws includes that of preventing good ones; and may be used to the one purpose as well as to the other. But this objection will have little weight with those who can properly estimate the mischiefs of that inconstancy and mutability in the laws, which form the greatest blemish in the character and genius of our governments.

When you get into a film, it is one story and one set development of a character, and you are able to delve into one character for a short period of time and discover everything about them.

I would say probably Paris [Hilton]. Because to me that's her in character and she kind was always sort of winking at the camera. There was satire I think involved in what she was doing. I like to think there was.

I got an email from Nick [Kroll] that he and John [Mulaney] were looking to put on the stage show with two of their characters from Kroll Show and could I help at all. And they were doing it [off-Broadway] at the Cherry Lane and they had been performing it at UCB, just sort of testing it out. I worked on it for a little bit downtown and it was a great experience.