In this post, you will find great Characters Quotes from famous people, such as Alphonse Karr, August Wilson, Aaron Ehasz, Kristin Scott Thomas, Adam Christopher. You can learn and implement many lessons from these quotes.
I discovered ‘The Shield‘ back around 2010, when the Archie superheroes were licensed to DC Comics. From there, I went back into the archives and discovered this whole universe of characters, and I was hooked.
It’s certainly more interesting for me as an actor, but I think it’s also more interesting for the audience to see three-dimensional characters, rather than just a bad guy or a good guy.
‘Deity’ will be a compelling and exciting thriller with complex and interesting characters. A neo-realistic style to story and images will take the audience deep into Calcutta’s many different levels. A fascinating clash between American and Indian culture.
Now I’m president. I get to meet a lot of other company presidents. They’re such weird people. I’m fascinated by them. I use some of them as enemy characters in our games.
I think all of us, under certain circumstances, could be capable of some very despicable acts. And that’s why, over the years, in my movies I’ve had characters who didn’t care what people thought about them. We try to be as true to them as possible and maybe see part of ourselves in there that we may not like.
Sometimes even when the book is over I don’t know who’s good and who’s bad. It’s really more interesting, I think, to write about gray characters than it is to write about black and white.
Guy Gavriel Kay’s ‘Tigana’ is, in my opinion, one of the best, if not the best fantasy novel ever written. It’s beautifully written, the characters are unforgettable, the worldbuilding is exquisite.
Choreographing a fight scene is telling a little story. You learn a lot about the characters involved.
I think the key divide between the interactive media and the narrative media is the difficulty in opening up an empathic pathway between the gamer and the character, as differentiated from the audience and the characters in a movie or a television show.
When you create a show, and create characters, these people are like children to you.
What I do is put my characters into situations that are so precarious there is no way to get out. And then I figure how to get them out.
I wanted to show those characters discovering it is possible to find common ground, as they make their way through a plotline that I hope is engrossing enough to keep the reader a willing participant.
Theater is about language, so characters have to define themselves through language for an audience.
They are imaginary characters. But perhaps not solely the products of my imagination, since there are some aspects of the characters that relate to my own experience of a wide variety of people.
I love Los Angeles, and it’s been very good to me, but if everyone is running around telling the stories, who’s living them? You don’t play characters that are celebrities – you play guys who know what to do when their septic tank‘s blocked.
The way I write is that I’ll actually have a conversation out loud with myself. In a weird way, I just kind of get schizophrenic and play two characters.
I always shoot my movies with score as certainly part of the dialogue. Music is dialogue. People don’t think about it that way, but music is actually dialogue. And sometimes music is the final, finished, additional dialogue. Music can be one of the final characters in the film.
Start as early as you can. Make tapes of your characters.
We started getting the script to different people and we were in the business of trying to fund it so we could get it off and running, and all the characters and sets designed and everything.
I have a huge emotional attachment to characters I’ve created, especially the viewpoint characters.
I am a professional actor, and I am very careful about being sincere to the characters I play.
I want to keep doing different things. I’d like to do a more personal, dramatic movie next, I think. But as long as it’s about characters and good writing and good parts for actors, that’s what’s important.
I realized that I wanted to play characters and do traditional theatre. I wanted to make believe again. I like putting on a costume and pretending to be someone else for a few hours, and I have a great respect for playwrights.
I suppose all fictional characters, especially in adventure or heroic fiction, at the end of the day are our dreams about ourselves. And sometimes they can be really revealing.
When I write, I try to become different characters.
The genre of fantasy is about magic and occult characters.
I’d love to play more challenging roles, characters that would stretch my comfort zone and imagination.
Twitter is the ultimate service for the mobile age – its simplification and constraint of the publishing medium to 140 characters is perfectly complementary to a mobile experience. People still need longer stuff, but they see the headline on Twitter or Facebook.
The thing about a band is, it’s not so much how good the musicians are – it’s the blend of personalities and characters. It’s the human chemistry that makes up a good team.
The history of all the great characters of the Bible is summed up in this one sentence: They acquainted themselves with God, and acquiesced His will in all things.
A lot of my songs are about things that concern me personally, not a heightened version of myself or any of the characters that I play.
When I was in school, I was always writing scripts and dressing up as characters. I’d constantly be that guy who’d get up on stage. I used to write imaginary TV shows, like soap operas, for fun.
I’m not going to let people who work in the United States Department of Justice have their characters be assailed without any basis.
Creating characters is just another way to express a type and put that type to use.
This is an area you always need to address when you’re dealing with Dracula is the fact that there is something kind of attractive in his darkness – which there isn’t in other horror characters.
When two characters or two actresses are together for a while there is bound to be chemistry developing.
If you don’t have obsessions, don’t write. my characters are obsessed.
I think younger readers connect so readily to animal characters because they share a certain vulnerability, particularly when it comes to adult humans, who can be a rather unpredictable lot.
You can’t really judge characters, because that’s when it gets really hard to play them.
I think it’s important that ‘Star Wars‘ characters speak universally, to kids and to people.
You have to strike while the iron is hot. You have to take downtime to see friends and family, but my passion is acting: pursuing those scary, challenging characters and working with passionate people.
It’s normal that if you are working with a lot of people, then you have a lot of different mentalities and characters. You have the serious guy, and you have the one who is always complaining and the one who is always talking. Everyone is different.
If the characters are compelling, readers will follow anywhere.
Travel provided many interesting experiences, but perhaps the most useful lesson I learned was that I really had no proficiency for learning the thousands of characters of the written Chinese language.
My favorite thing about being an actor is that I get to be so many different people in one lifetime. You sort of get to be all of these different characters.
I really enjoy the writing process because I can do it from my house. I can create these characters and take them in the different directions that I want to take them. You have a lot of freedom as a writer.
I always go back to how people behave. If you watch how people actually behave in a situation, it’s very simple and honest and contained. You don’t need to use as much expression, as much feeling. Some characters will boil over, and that’s another thing, but a lot of times I think you can just do very, very little.
A good movie makes the audience feel like they’ve journeyed with the characters.
I think one of the things you have to learn if you’re going to create believable characters is never to make generalizations about groups of people.
An actor’s off-screen persona should never overshadow his on-screen characters.
If I showed you scripts from my first few movies, the descriptions of my characters all said ‘the ugly girl’.
I think I am more attracted to characters with a subtext, whatever that is and they don’t necessarily have to be virtuous, but they have to at least be human.
I always wanted to play characters, and that was definitely one – a Russian spy.
When I started comedy, I was a big Eddie Murphy fan. I thought if you did stand-up, you were supposed to know how to act, write, and host. I thought it was all one thing. That’s why it doesn’t feel like I’m transitioning to acting: because in my stand-up, I do characters all the time.
I love the tradition of Dickens, where even the most minor walk-on characters are twitching and particular and alive.
I think it is important that you care about the characters, and you are not just waiting for the next action sequence but have a vested interested in what happens to them.
It’s never easy with characters in these dark and grave circumstances but that’s my job.
Brad Pitt has something about him to where he’s played different characters in all his movies, and every single time after he’s done, I want to be him.
I think that’s something that people feel that I do really well; I don’t mind it, because ultimately I think the characters I play move people, and who wouldn’t want to move people?
Let them cant about decorum, Who have characters to lose!
The Indian community in Canada has integrated much better than the Indian community in United States. They’ve become really Canadian at the same time as keeping all their Indian characters and customs and social groups.
Never argue with your characters; they know themselves better than you do.
I do remember being a fan of the Marvel characters and not liking the DC characters at all.
Actually the copies of characters is something I don’t particularly like to talk about in articles but just for your information, most characters there’s only one.
Designing characters for ‘Dragon Quest’ is fun but difficult work.
The reason why there are so many characters who suffer in my games is that I want to show reality.
If you got a good imagination, a lot of confidence and you kind of know what you are saying, then you might be able to do it. I know a lot of colorful characters at home that would make great actors.
10 Endradhukulla’ is a thriller and the characters are all on the run. The film travels from South India traversing through the North, to the mountains where the climax takes place. Mine is a different kind of character; he is very suave and stylish and only later it is discovered that he is not what he looks like.
All characters come from people I know, but after the initial inspiration, I tend to modify the characters so they fit with the story.
I really fall in love with my characters, even the bad ones. I love getting together with them. They tell me what to do; they take me on a wild and wonderful trip.
It is three and a half hours long, four characters wide and a cesspool deep.
One of the weapons Marvel used in its climb to comic-book dominance was a willingness to invent new characters at a dizzying speed. There are so many Marvel universes, indeed, that some superheroes do not even exist in one another’s worlds, preventing gridlock.
I’ve always liked shape-shifter characters. I gravitated towards characters like Mystique from ‘X-Men,’ Zam Wesell from ‘Star Wars,’ and Tonks from ‘Harry Potter.’
A lot of the characters I gravitate towards feel like outsiders.
I love the powerful woman who’s complicated. There’s no push to be one thing or another thing. It’s all human. That’s what you look for as an actor: characters written and portrayed in the most human way possible.
Basically the children who watch it just see the little characters they love, and so they’re not discerning about whether it looks great or it’s a great story or anything.
It is easier to influence strong than weak characters in life.
I try to be eclectic in my choice of films. If I’ve done anything that’s intentional in my career, it’s to try to do as many different types of characters and as many different types of genres of movies that I can.
A lot of animated movies in the past have sort of relied on these archaic tropes on what the female characters in those movies can be and who they are.
I just want to portray a very honest character that displays traits that people can truly relate to and can help them – the audience and myself because I learn from the characters as well – help them see themselves in a perspective that is outside of what they know already, and grow from that experience.
A lot of male actors are method actors and they become the characters which they both were.
A Fantastic Woman’ has been seen as very interesting and entertaining. The film has had very good reactions. We are very surprised and delighted how the characters have connected with so many people.
I have great mood swings, maybe because of playing lots of different characters as I do. I’m like a gymnast whose muscles get too stretched. I’ve got better at it, but I have a lot of emotional energy.
I’m personally not terribly interested in designing wholesome characters, so I don’t have many variations to offer.
I’m first and foremost interested in the story, the characters.
The representation of gay characters on screen is important for us all to think about because there are sadly too few representations of gay characters on screen in mainstream cinema. If Marvel starts making movies about gay superheroes, then we’ll be in a really great place. We’re not at that place.
I always find stuff in my characters to relate to.
I think it’s a short story writer’s duty, as well as writing well about emotions and characters, to write story.
I’ve always loved the underdog characters.
Do you remember ‘Super Saiyan 3?’ I forgot about it, and I thought that was ‘Super Saiyan 2,’ even though I created those characters.
It’s very important for feminism for us to tell our daughters that they should be strong. But to tell our sons that they can be vulnerable, to have these characters on screen that are not perfectly masculine cowboys that never fail, for our boys to change their psyche as well, that’s equally important for feminism.
Every reader knows about the feeling that characters in books seem more real than real people.
In the theater, characters have to cut the umbilical cord from the writer and talk in their own voices.
I’ll tell you what I really enjoy. We all go to the movies, we all watch television, we know what they’re about, how they work. When the main character is a cop or a spy, it’s very exciting, but I also very much enjoy when the main characters are nobodies – a trucker.
I don’t know what my formula is. I only know I like my characters to walk in clouds. I like a little bit of the fairy tale. Let others photograph the ugliness of the world. I don’t want to distress people.
Since I think I am very boring in normal life, I tend to hide behind all these exciting characters, making people believe that I am someone else entirely. That feeling is very powerful.
I never try to give a message in my books. It’s about living with characters long enough to hear their voices and let them tell me the story. Sometimes I would love to have a happy ending, and it doesn’t happen because the character or the story leads me in another direction.
Some feminists have this party-line attitude, and they can be very extremist. The most enlightened characters in my film are women.
Most artists like to think of themselves as rugged individualists, as independent characters.
As a filmmaker, the most dramatic and the most dread-inspiring thing is when the audience can see more than the characters themselves can see.
It’s funny, I used to say on ‘That 70’s Show’, you could really put us in any decade, and it was about the people and the characters and that we cared about each other.
When I wrote ‘East,’ I wanted a completely earthy, very sexy, very violent play, so I wrote in verse. I found it not only satisfying but releasing. It gave me an opportunity to play with language. We never played the characters like the yobs that they are, but rather in a slightly heightened way.
The stronger the participation of the female characters, the better the movie. They knew that in the old days, when women stars were equally as important as men.
I don’t do jokes. The characters are my jokes.
You see so many earnest characters in movies all the time, everyone has a purpose.
I think you can always find interesting, complex and fascinating characters to play in different kinds of movies. It’s in your hands.
These people I play are not usually wish-fulfillment characters.
As an actor, you have to face the public all the time. It is a job that people fantasies, but it also creates prejudices; these prejudices are the scariest things. People judge a personal life or your image, and it can affect the characters I play. Therefore, I try not to showcase my personal life too much.
In terms of writing characters or stories, at least initially, there’s no difference between live-action and animation. A good story is a good story, whatever the medium.
It’s not like I don’t want to play the guy next door. But sometimes they’re not the best written or the most complicated. But I am very, very particular about my bad boys. There are certain types of characters I will not play. I’ve said no so many times to so many parts that are just way too dark. You have to be careful.
When I watch movies – when I watch ‘Star Wars’ – you want to watch the fun characters, the diversions.
I’m very sassy. I want to show people in my album I’m not like my characters on TV.
If you watch the show and the characters don’t look at each other while they’re talking, the actors probably aren’t getting along.
I’m always determined that as a novelist I’m going to go out there and research my characters very thoroughly before I start writing.
When I started my own podcast, I realized I definitely wanted to do characters.
I tell my students you have an absolute right to write about people you know and love. You do. But the kicker is you have a responsibility to make the characters large enough that you will not have sinned against them.
I wanted to write something from a child’s viewpoint… Five of the characters I have played in movies have either been abused or became abusers, themselves, and I just kind of felt like there was a need.
I’ve wanted to follow my dad into acting for as long as I can remember. ‘I’ve had a very serious round of dramatic training, and I like action films that take their characters seriously, so I figure I’m making it the best of both worlds if I try to bring some serious acting to a shoot-’em-up picture.
Somebody like Mailer brings to that role everything that he stands for. The types of characters that I gravitate towards, the types of icons, tend to have a heavy physicality in that way.
Star Trek characters never go shopping.
Man, ‘Hill Street Blues‘ was on when I was 12, and I remember feeling I’d never seen anything like it. It was that far ahead of its time, with dark characters you loved.
It’s always the great thing about being involved in such a legacy series such as ‘Star Trek’ is you’ll always want to know more about the characters that you love.
I like to be flamboyant, play characters, wear make-up, play dress up. I was doing that since I was a kid.
In Hollywood I thought I was large and klutzy, like the characters I played.
Fear has disappeared. No more fear. In Asia, it is different. They’ve discovered again the fear and the psychology of the characters. Without psychology, the horror film doesn’t exist.
I go through a whole process with the actors first, building and creating characters, then I encourage them to sort of live in that character when they’re in the screen.
I think young women want to see themselves, and indeed their hopes and dreams, represented in characters.
For the most part, my characters don’t talk to me. I like to lord over them like some kind of benevolent deity. And, for the most part, my characters go along with it. I write intense character sketches and long, play-like conversations between me and them, but they stay out of the book writing itself.
Something that I really enjoy doing is creating and being a part of very different characters and very different projects.
I’m playing my first urban character in ‘Thirudan Police.’ It’s an important film because I’ll be breaking the stereotype that I’m only fit for rural characters with this role.
I think that even if you’re wondering if two characters are ever going to kiss, drawing out the inevitability is part of the fun. Whatever the genre happens to be.
I choose my friends for their good looks, my acquaintances for their good characters, and my enemies for their intellects. A man cannot be too careful in the choice of his enemies.
I never act my characters – I am them.
If I played characters who were like me, I’d be super bored.
I personally do not believe ‘Premam’ has influenced anyone in any way; it has just portrayed characters and is one man’s story where he falls in love with his teacher, and I don’t believe people would use this as a reason to imitate it.
I’ve always preferred writing about grey characters and human characters. Whether they are giants or elves or dwarves, or whatever they are, they’re still human, and the human heart is still in conflict with the self.
I was thinking about what I wanted to write next, after my first novel, and had decided that I wanted to write a story with a lot of strong female characters in it.
When you are reacting to a good actor, your reactions become better. You get to know what to tone down and how to make yourself believe in those characters.
I’m much more low-key than the characters I’ve played.
My wheelhouse is intense characters who have a certain sympathetic streak and also a sense of humor.
In all my characters, I try to find an iota of myself, and in Castle, I found a lot. He gets away with a lot, so that’s fun.
I love the female characters in ‘She-Ra.’ There isn’t another show quite like it.
People like Frank Zappa and Bryan Ferry knew we could pick and choose from the history of music, stick things together looking for friction and energy. They were more like playwrights; they invented characters and wrote a life around them.
It’s not easy trying to get into the psyche and behaviour patterns, which are far removed from one’s own personality. Some intense characters linger long after it’s over on screen.
What’s the difference between Hollywood characters and my characters? Mine are real.
I tend to play a lot of characters that are 10 or 15 years older than me.
I like characters with problems. I like to understand them… To play alcoholics, fetishists, strange girls, you have to dig deep within yourself. It’s ‘elsewhere‘ that interests me.
People of African descent, most of us grew up accepting and loving Spider-Man. I still love Spider-Man. I still love the Incredible Hulk. I still have those characters that were white role models, superheroes, heroes – whatever you want to call it. You basically had no choice but to accept those.
This will sound funny coming out of my mouth, but I like to play characters that have an intelligence. It doesn’t matter if it’s a physical intelligence or emotional intelligence.
Conventional forms of narrative allow for different points of view, but for this book I wanted a structure whereby each of the main characters contributed a distinctive version of the story.
I deeply respect literature and expect to gain insight from a book and to identify emotionally with its characters. I therefore avoid reading suspense novels or science fiction.
The puppet characters were combinations of people I had known and to some degree aspects of my own personality. Weird was based on someone I knew in Chicago. Dirty Dragon was based on a good friend I had in Indianapolis.
The younger generation of filmmakers is concerned about our roots, rather than making films with characters plucked out of the cloud or some English DVD. Actually since 2000, Tamil cinema is going through some positive changes.
I love the TV show, and if you make a bad movie it means you’ve soiled it. Just like if we made an advert. We were offered so many times and I’d say, look, this is the good thing, and you can’t compromise that, because then you compromise the integrity of the characters.
Sometimes you have to go places with characters and emotions within yourself you don’t want to do, but you have a duty to the story and as a storyteller to do it.
With ‘Black Panther,’ black artists were provided with the opportunity and agency to create art that captures the full range of their imaginative possibilities. It matters that Chadwick Boseman is the protagonist and is supported by a cast of nearly all black characters.
I aspire to play interesting characters.
In many ways, it’s easier to write a book. You have more latitude with structure, and you have the freedom to luxuriate within the internal lives and musings of your characters. But where a screenplay does not always demand great prose, a novel lives or dies by it.
I always think of my characters as alive human beings and try to generate questions around their life and understand their socio-political background. It was a lot of questioning and reading.
I try to play characters who are different from myself, so I feel like this character is someone who is really different. I actually think that if I did what he did in this movie, I would get a restraining order put against me.
As an actor, I’ve always wanted to do characters that would help me find my connection with others and connect all of us together. You always want the energy of the character, the spirit of the person, to enter you. I’ve been doing this for 26 years and some of the things I’ve done are always with me.
It’s the emotional trigger points that are important to me because I know if I could believe in the characters and try and imagine how they felt then I’d be able to do something quite honest.
The main thing that I learned from editing is that most people, when they’re making a film, they start too early into the story. They will try to set up the characters, they will try to establish things before the plot actually starts.
A lot of people go in and have to create their own characters, and they do fine with it.
Don’t think for a moment that I’m really like any of the characters I’ve played. I’m not. That’s why it’s called ‘acting’.
The heart and soul of network programming is series programming, the weekly repetition of characters you like having in your house.
‘Agent Mom’ is a perfect opportunity for me to do what I love… develop characters, act and take incredible stories to my fans. So yes, I can absolutely see myself cast as ‘Agent Mom.’
I wanted to give readers the feeling of knowing the characters, a mental image.
Political theatre presents an entirely different set of problems. Sermonising has to be avoided at all cost. Objectivity is essential. The characters must be allowed to breathe their own air. The author cannot confine and constrict them to satisfy his own taste or disposition or prejudice.
I did a guest appearance on ‘Entourage.’ That was horrible, because I’m used to analysing the characters, working with all the details… and they said, ‘No no no, walk and talk, walk and talk! It’s energy energy energy!’ – so it didn’t quite suit me.
I loved ‘WWF No Mercy‘ for the Nintendo 64. One of my favorites games was ‘WCW Thunder.’ I loved playing that game, and I loved being The Steiner Brothers. They were so cool, and they were some of the most powerful characters.
I am a better person when I am writing, and I am probably a better mother because I can focus all that laser attention on these characters rather than worrying about my kids.
Nice people with common sense do not make interesting characters. They only make good former spouses.
The two biggest characters I’ve created are probably the biggest things I’ve ever done for a role.
I like to play characters who are flawed – the big man brought down.
When I do film, I really take on roles and I take on characters.
‘King Kong,’ especially the first two acts of it, is a really good example of the use of miniatures mixed with digital characters and how convincing it was.
I think it’s definitely beneficial for these characters to have good acting voices behind them and it affects the characters in a way that people can feel like they’re part of the game and that they know these characters.
There are many oral historians in America, but my books are made using the rules of novel writing. I have a beginning, a plot, characters.
Obviously, a lot of TV shows are based on chronological episode viewing, and the stories are contingent upon watching it in order. Syndicated shows, you don’t have to watch in order. You’re just watching characters that don’t change that much.
I have songs that define characters from each film of mine. It can be a song from that particular film or something that just goes with the wavelength of the film; you listen to it, and it gives you that rhythm. I can’t articulate how it helps, but it somehow gives you an understanding of the character.
It’s hard to leave behind scenes and characters I am in love with.
It’s almost better that Twitter limits me to 140 characters. There’s only so much trouble I can get in.
I hate a movie that will end by telling you that the first thing you should do is learn to love yourself. That is so insulting and condescending, and so meaningless. My characters don’t learn to love each other or themselves.
Whenever I dwell for any length of time on my own shortcomings, they gradually begin to seem mild, harmless, rather engaging little things, not at all like the staring defects in other people’s characters.
I would love more stories with strong characters of color who don’t always fit the mold that Hollywood has created in the past.
What I like writing about are people’s relationships, not necessarily great big dramatic things but the smaller things in life and how they affect characters and challenge and change the people that they are. I do like a happy ending, so my books have to have a happy ending.
Special effects are characters. Special effects are essential elements. Just because you can’t see them doesn’t mean they aren’t there.
I’m a quasi-only child. With my brother and sister, I’ve more of a tendency to be semi-maternal. So, yes, I spent a lot of time talking to myself – I had this big dressing-up box and would just dress up as lots of characters and talk back to myself… Verging on schizophrenia, I suppose, if you analyse it carefully.
As an actor, you read so many scripts and parts written for Asian-specific characters, and you see a lot of stereotypes and a lot of one-note characters, especially in comedy.
But the West of the old times, with its strong characters, its stern battles and its tremendous stretches of loneliness, can never be blotted from my mind.
My beliefs encompass all religions. But I never show my religious inclination in my films. My characters have dark sides; they aren’t the god-fearing characters. It wasn’t a conscious decision. I’m a very lazy and emotional person who connects with the common man.
I’m writing about real things. Real people. Real characters. You have to believe what I write about is true or you wouldn’t pay any attention at all. Sometimes it’s me, or a composite of me and other people. Sometimes it’s not me at all.
I’ve played a lot of characters who are creeps or weirdos, with a deep darkness underneath the surface.
Outside books, we avoid colorful characters.
I don’t have sentimental attachments to characters at all.
Looking at the Batman pages is like revisiting my youth. My first seven years in New York were the first seven years of Batman itself. While my time on Batman was important and exciting and notable considering the characters that came out of it, it was really just the start of my life.
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.
I do not speak through my characters; it’s not a ventriloquist act.
I’m not very good at depicting the characters’ psychology on the page.
The thing is, I want to play real characters and not all girls can be pretty. The thing is, you get these girls who say ‘I’m a character actor‘ then you see them in a role and nothing has really changed but the outfit.
‘Modern Family’ is unique in that it’s telling the story of three different families, which is a huge amount of characters to service.
The physical journey in my films is indicative of the internal journey that my characters take.
Great novels have great characterization no matter what. But multiple points of view let me examine characters from entirely different perspectives, allowing me to learn more about everyone in the process.
I try to be cool with everybody, but sometimes, everybody just has different personalities, motives, and different characters.
When I was asked to compose a score for… ‘Palo Alto,’ I first thought to myself, ‘What is the house that these characters would want to live in?’ I wanted to paint a picture and color scheme that I could work around. I gently apply different daubs to see what fits to match the color I have in mind with these characters.
I wanted to write a novel where the meaning is in the story and characters and the subliminal, in the shades and nuances. It’s exciting to develop that as a writer.
Ever since I was really little, I’ve had characters that were in my mind.
I don’t think I’m like any of the characters I’ve played – they’re all really far from who I am.
I’m drawn to emotionally damaged characters because there is more to unlock.
Television has embraced so much in terms of storytelling and in terms of a wide array of characters conveying stories from different points of view.
I like to play characters that have an inner confidence about them that maybe you wouldn’t expect them to have and that they aren’t afraid to unleash occasionally.
You can’t go around hoping that most people have sterling moral characters. The most you can hope for is that people will pretend that they do.
I’m Dr. David Hanson, and I build robots with character. And by that, I mean that I develop robots that are characters, but also robots that will eventually come to empathize with you.
There are no black and white, good or bad characters in ‘Game Of Thrones,’ but Joffrey was an exception. Just pure evil.
When we watch ‘Scarface’ or ‘The Godfather‘, we look at the characters for what they are and the story through them.
It’s cruel to compare two actors working with two different filmmakers on two different characters.
The ‘Fargo‘ characters, they’re the characters of my people. They’re stoic, hardworking, uncomplaining, and I loved them.
At the beginning, everything’s possible and everybody gets equal time, all the characters, all the ideas. You don’t know who’s going to be the main characters; they’re all fighting it out. It’s like kind of the best time in a way.
For my characters, it’s important to get really specific about what they listen to. Because it affects how they move in the world.
One of the most interesting female characters I’ve written about was Meg Riddoch, the lead character in ‘The Thompson Gunner’.
There’s always something at least a little smug about self-reference – magazine articles about idealistic journalists, TV shows about TV actors, ironic films within ironic-er films: all this meta-media populated by thinly disguised characters making oblique inside jokes.
Every human being has hundreds of separate people living under his skin. The talent of a writer is his ability to give them their separate names, identities, personalities and have them relate to other characters living with him.
I like it when you read a script and there’s the part that you show to the other characters and then there’s the part that only the audience knows.
A lot of readers want characters to behave in a responsible way, or they want to understand the characters’ dilemma and act, in a way, on their behalf.
The emotions triggered by fiction are very real. When Charles Dickens wrote about the death of Little Nell in the 1840s, people wept – and I’m sure that the death of characters in J.K. Rowling’s ‘Harry Potter‘ series led to similar tears.
I like to push characters to extremes so they have to make really tough decisions and there is no life more extreme than that of an athlete.
I think some of my best theatre training has been in the Marine Corps. Not only meeting a bunch of characters, but growing up. You’re in really adult situations at a young age, as far as being in charge of people.
Algebra looked like Chinese characters to me, and I could never get into reading Shakespeare. I just did not get it.
I prefer to work with grey characters rather than black and white.
When writing a novel a writer should create living people; people not characters. A character is a caricature.
My favorite TV couple is Edith and Archie Bunker. Because they were such individuals that I can’t imagine anyone else playing them. And I think that Archie was one of the greatest characters ever on television. Even with his flaws, you loved him.
The key to this collaboration – which we undertook after much deliberation – was to stretch creatively. New characters, new locales, new form (the novella).
The instant that movies became described as character driven was the instant when characters stopped mattering in movies. In other words, the birth of the notion of the character-driven movie coincided with the birth of movies in which characters were incidental to the very activities in which they engaged.
I just want the opportunity to continue to do great films, play great characters and work with great people.
For me, the performance was always playing different people. And so when I got older, was no longer the romantic leading movie star, it became more and more interesting for me, the characters I played, you know?
My characters do have some fantastic taste in men.
I do believe, and I will always believe, that Shakespeare on film is really something that should be tried more often because it is an opportunity to take the humanity that Shakespeare writes into characters and express it.
When a director narrates a character, I find it normal to ask questions about the character’s background, mood swings, eccentricities, behaviour… I do this to make my performance relatable. Directors who don’t know their characters well find it difficult to answer these questions and, hence, find me annoying.
So I work hard to present the human side of my characters while not neglecting the plot.
I am most attracted to characters and stories that I can relate to. The traditional formula of ‘larger than life’ I never found attractive.
I grew up in a conservative small town, and the gay characters I saw on TV and in movies when I was growing up were all flamboyant and obnoxious and sometimes kind of annoying.
I try to build a full personality for each of our cartoon characters – to make them personalities.
The language fictional characters use is chosen for effect, at least if the author is concentrating.
I always get inspiration from whatever characters say about my character.
I have found it easier to identify with the characters who verge upon hysteria, who were frightened of life, who were desperate to reach out to another person. But these seemingly fragile people are the strong people really.
The characters I’ve played that people have noticed included a cross-dresser and a transsexual.
Man, ‘Hill Street Blues’ was on when I was 12, and I remember feeling I’d never seen anything like it. It was that far ahead of its time, with dark characters you loved. I remember Ed Marinaro, the football star.
‘The Oath‘ seems like the perfect project for me, coming off the back of a big-scale adventure film like ‘Everest.’ I want to delve into an intimate, dark and psychological world where the characters are claustrophobic.
The characters emerge from my rather twisted mind. That’s another enjoyable part of the job making stuff up.
I don’t consider myself a competition to anyone. There is ample space for everyone here. When there are directors who create characters for me, why should I feel bothered or insecure? When it comes to updating myself, I work very hard to relate to the emotions of characters I play.
There were so few examples of Asian or Asian-American lead characters on American TV or even in the movies. And the ones that have existed for so long were either stereotypical or offensive in some way, or just not reflective of the lives of people in the community.
Because I grew up in Africa, I always see people and try to understand characters as what kind of animal they’d be.
I just love real characters; they’re not pretentious, and every emotion is on the surface, they’re regular working people. Their likes, their dislikes, their loves, their hates, their passions; they’re all right there on the surface.
Teenagers, especially girl ones, seem like the perfect canary-in-the-coal-mine characters to me. They capture American culture and its perversion, its hypocrisy – how absorbed we are with youth and beauty and sexualized imagery, for instance, while preaching abstinence and modesty.
There’s so much of, it could have been a very critical examination of what happened, and really the emotional lives of the people involved sort of carry the characters forward.
I wake up and play a different person every day. Playing all these different characters and trying to figure out who your true authentic self is at the core of that as you’re playing all these different roles, and man, that self-awareness starts to come into effect. And you start to see who you really are.
I don’t need all that much – I just need to know who my characters are and what kind of jam they’re going to get into, and I’ll write myself out of their jam.
But I also wanted to give them an intelligent emotional journey, without having to suspend reality – to be able to look at those characters and see reasons for the relationships and why what happens happens.
For characters where, in a comic, I’d avoid using screen tone because it’s such a bother, I’d deliberately use it in animation in order to highlight their individual characteristics.
I’m a mixed race lad from Liverpool. I get to play a lot of hard characters, and some people perceive that’s what I’m like, but it’s great for me ‘cos they’re always the most interesting characters.
I would love to just continue playing characters that break the mold. I like making interesting decisions when playing characters, so, taking something that would seem one way and then playing it a different way.
All of my characters have a glint of madness.
So many women characters are extensions of male fantasy.
I’m working to create a space where it feels easy to include and imagine black girls and make black girls like me the main characters of our lives.
M*A*S*H offered real characters and everybody identified with them because they had such soul. The humor was intelligent and it always assumed that you had an intellect.
I hate it when characters know things but only reveal them when it’s convenient to the story. I’d never do that. That’s cheating.
If you care about the characters, then whatever scary thing happens to them, you feel it even more.
I don’t like to read novels where the novelist tells me what to think about the situation and the characters. I prefer to discover for myself.
I start drawing, and eventually the characters involve themselves in a situation. Then in the end, I go back and try to cut out most of the preachments.
I really like how the characters always has to go through some type of long journey that’s like a crazy struggle. And these anime shows give women power. She’s always the queen or somebody that you cannot beat – I love that.
I think I’m good at looking moody. I’m not much good at analysing myself, but I tend to fit the strange and tortured characters.
Characters are incredibly important, but I tend to build them around the plot during the outline stage. However, once I’m writing the manuscript, the characters I’m writing dictate how the plot unfolds.
If I hadn’t left South Africa, I felt I was at risk of being pigeonholed. I looked around and saw actors who, 10 to 15 years into their careers, were still playing stereotypical Afrikaans characters, stereotyped Indian characters. That was not something that I wanted for myself.
Strong characters are brought out by change of situation, and gentle ones by permanence.
The ‘Doom‘ thing is to be able to come at things with a different point of view. I decided the mask would just add to the mystique of the character as well as make Doom stand out. I though it’d be an easy way for people to see and differentiate between characters, sorta like when an actor gains weight for a role.
My Southern heritage is a big part of who I am. I grew up around people who seemed like characters but are actual, real people. My grandmother made sure I had manners and all that stuff.
I think I’ve spent so much time playing characters that are so far away from me and learning how to technically build and how to technically put something on top of you.
High aims form high characters, and great objects bring out great minds.
Writing is a question of finding a certain rhythm. I compare it to the rhythms of jazz. Much of the time life is a sort of rhythmic progression of three characters. If one tells oneself that life is like that, one feels it less arbitrary.
For people worried about the Great Recession and the uncertainty of what is coming next, the characters of ‘Mad Men‘ are good company.
The world is full of novels in which characters simply say and do. There are certainly legitimate genres in which this is sufficient. But in real and lasting writing the character is.
I want to be remembered by the characters I do.
I’m very excited to see the wonderful 2-D characters in Poptropica come to life in the form of 3-D toys. When I first held the characters in my hands, it felt like magic. I’m excited for kids to have the same feeling!
When you deal with nonfiction you deal with human characters.
I think about the characters I’ve created and then I sit down and start typing and see what they will do. There’s a lot of subconscious thought that goes on. It amazes me to find out, a few chapters later, why I put someone in a certain place when I did. It’s spooky.
I actually then went on to direct an after-school special where one of the characters was deaf. They hired me without even knowing I had any connection to the community.
My characters are based on people I know, but not in a direct way.
I don’t try and write strong female characters or strong male characters, I just try and write, hopefully, strong characters and sometimes they happen to be female.
I think the thing is with a movie that has this much science fiction in it; you need characters who are more science fact, if you know what I mean, than they are human.
I believe showing various characters is my job and I try to take as many challenges as possible in my dramas and films.
I always try to make my characters people, and yet I always want to entertain.
You can take charge, kick ass, do whatever you have to do and it’s okay. You can blow people up. These are things that are okay for cartoon characters to do.
I don’t understand labels. I don’t need anybody to tell me I’m Latina or black or anything else. I’ve played characters that were written for Caucasian females, I just want to be given the same consideration as everybody else, and so far that has been happening.
One of those things that I like about TV is that if you get a group of people you like, you can work with these people for months at a time, and you can discover their strengths and weaknesses, and you can use those in the direction where you take the characters.
At the end of the day, stand-up comedy is like acting when the audience are the other characters that I’m acting with.
The thing is, even if you’re playing sort of a heightened character and playing inside sort of a heightened reality, you can still apply your own truths to those characters.
To create characters, one must build background. And one of the tools we use is improvisation.
I don’t write about love because it makes for easy, passive heroes. I write about how love makes my characters more autonomous, more self-possessed, more opinionated and powerful. I write about characters who pursue relationships that make them the people they want to become. I write about love as a superpower.
We have created characters and animated them in the dimension of depth, revealing through them to our perturbed world that the things we have in common far outnumber and outweigh those that divide us.
I think my best quality as a writer is the ability to craft complicated, nuanced, interesting characters.
As soon as I started reading, I found myself drawn to fictional character’s homes as much as I was to the characters themselves.
What I realized is that it doesn’t matter how big or small your film is. The actual filmmaking process, the actual storytelling, it’s still the same thing. It’s still all about creating characters that you like and creating moments that get you excited or get you tense.
I try to get roles that challenge me in what I can do and who I think I can portray. For me, it’s about creating characters with really fascinating stories, because that’s what I like to watch on TV.
I am drawn to characters that go on journeys, characters that are real people, that have life.
I admire the world of the books and the characters that she’s created, but I’m not an addict of Harry Potter. I don’t feel possessive about it.
I always liked strange characters.
I’m happy being myself, which I’ve never been before. I always hid in other people, or tried to find myself through the characters, or live out their lives, but I didn’t have those things in mine.
Among adults, we can admit that of course, characters are creations. They aren’t real people.
I have a tendency as an actress in general to ground my characters. Even when doing outlandish characters, that’s my instinct.
The world is full of people with different characters and temperaments. We all have a dark side, a tendency to manipulate, and aggressive desires. The most dangerous types are those who repress their desires or deny the existence of them, often acting them out in the most underhanded ways.
I grew up watching ‘Buffy the Vampire Slayer‘ and used to dream that I would grow up to be just like her. In a way, ‘Teen Wolf‘ has a lot of those kinds of characters. We’re just kids by day, and yet we’re trying to fight demons and werewolves and bad people and save people that we love.
The maxims of men reveal their characters.
The only difference is that religion is much better organised and has been around much longer, but it’s the same story with different characters and different costumes.
I’m about my characters.
I have a strong personality – I know who I’m outside my work, and I’m nothing like the characters I portray.
You read about somebody, and it doesn’t really matter whether or not they really exist – the point is that you get into them like real characters.
The point of my explanation is I’m very subjective when it comes to describing my characters: they are all a little bit a part of me from the outside in or the inside out – but to put your mind at ease, I built Paul Snider from the outside in.
I have played Blair Cramer for 20 years, I feel a personal investment in the success of ‘One Life to Live.’ I love the show, I’m a fan of the characters, and I have invested in the journey these fictional characters have traveled.
My main characters are the most sunny, happy, optimistic, loving creatures on the face of the Earth. I couldn’t be happier that’s where I start. I can put as many flawed people in the dog’s world as I like, but the dog doesn’t care. Dog doesn’t judge. Dog doesn’t dislike. Dog loves. That’s not so bad.
Writing a book is very personal. It’s a very personal relationship. A book will start with something as simple as two men talking about work. That gets the fire going. Sustaining that fire is the hard work. It takes attention and empathy to hone the characters.
As far as characters are concerned, Alan Partridge makes me wet myself. I’m currently reading the book and have started talking like him as an unfortunate consequence.
I find that the only way to make my characters really interesting to children is to exaggerate all their good or bad qualities, and so if a person is nasty or bad or cruel, you make them very nasty, very bad, very cruel. If they are ugly, you make them extremely ugly. That, I think, is fun and makes an impact.
I read all these Marvel wikis, and there are characters that just stand out to you, and you think, ‘How is this character not being used? This is crazy.’
Clean living is the cardinal principle in the lives of the world’s greatest athletes, as the phenomenal performances of these outstanding characters will obviously show.
Nobody is surprised that women writers accurately represent male characters over and over again, no doubt because everybody knows that women understand men much better than vice-versa.
There’s something strange about theater. My characters consistently demonize elitism, but of course it’s taking place in a theater where only so many people can see it. I’ve been in silly popcorn movies – the kind of thing that as an actor you might feel embarrassed about – but those movies reach many more people.
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.
Matt Weiner is very perceptive; there’s something about the rhythms and the way people speak that is very authentic to the actor. But there are qualities that are dissimilar. The characters on ‘Mad Men’ are struggling with pretty profound unhappiness, but I can tell you this is a happy bunch.
I like characters who don’t change, who don’t learn from their mistakes.
You know a lot of times wrestlers get too full of themselves. They can’t separate themselves from the characters. They get used to the excitement, the energy, the lifestyle and the money and with a lot of these guys, when it stops, they self-destruct.
Normally, I name my characters after famous comedians.
I’m so into playing different characters, even when I was on Nickelodeon. I just observe.
I have played innocent characters that are inherently me, but I have a sensual side, too.
To be a great creator, you have to be vulnerable. You’re creating characters that have a little bit of yourself in them… And you want to know it’s a safe environment for that.
I love to start characters in a place where you think you know them. We can make all kinds of assumptions about them and think they have no redeeming qualities, but like everyone, they’re complex.
If I don’t fall in love with my characters, I cannot shoot.
I think the parts that I played sort of broke the mould in terms of – you know, I played grey characters, the bad girl with a good heart, there was a good reason for her to be bad.
006 was such an interesting character and the film really explored his friendship with Bond and how it all went wrong, so it was a very personal journey for both characters.
It is very grand and sumptuous and awesome to look at but it was really about the characters for me.
I believe that actors should get into the soul of the characters, even if it is just for one scene.
I have to be entertained by what I’m writing, so a lot of my stuff has a goofiness or scatological quality. If these characters can entertain me, then I feel like I can deal with the darker or more serious stuff.
Dan Brown is a character from ‘Foucault’s Pendulum!’ I invented him. He shares my characters’ fascinations – the world conspiracy of Rosicrucians, Masons, and Jesuits. The role of the Knights Templar. The hermetic secret. The principle that everything is connected. I suspect Dan Brown might not even exist.
Each time I’m starting to work on a film, even if I love to settle the plot in the real world, I start to think about the plot as a fairy tale, or a dream, or a nightmare… As if it was the best way to tell the truth about characters or narration, instead of realism.
Supporting characters add depth to a story, and great actors leave their imprint with the audience.
All my characters are me. I’m not a good enough actor to become a character. I hear about actors who become the role and I think ‘I wonder what that feels like.’ Because for me, they’re all me.
Because of my own insecurities about the way I look, I do sometimes sabotage the looks of my characters by making them as homely as possible. I’ve never done a glamour part. I’d like to some day, though I don’t know if I could pull it off.
When you’re writing for a game – even if you’re using very well known characters like Batman and his villains who lend themselves to many different interpretations – you have to keep in mind that you’re writing for a different medium. Things are a bit more straightforward than it is for a feature film or a TV show.
I love novels where not much ‘happens’ but where the interest is in the ideas and analyses of characters.
Since Mahadev’ ended, I was waiting to play more larger than life characters.
I am a tremendous ‘Star Wars’ fan; I know the story means an enormous love to me. I love the characters.
In my books, I never portray violence as a reasonable solution to a problem. If the lead characters in the story are driven to it, it’s at the extreme end of their experience.
I think of ‘Mommy‘ as very simplistic or not simplistic, but I wish for the style to actually work with what you see onscreen and what you feel in that very moment. I hope we did not disrespect the characters by being too flamboyant when it’s not necessary.
I loved the idea of making history interesting for kids! When Scholastic approached me about ‘The 39 Clues‘, I immediately started going through the ‘greatest hits‘ from my years as a social studies teacher, and picked the historical characters and eras that most appealed to my students.
With writing fiction, I’m either not courageous enough or just not suited for telling truths in a more conventional way. As an actor, I inhabit those characters as I’m writing them.
One of the reasons I never had a problem handing over my characters to other creators is that I knew that they would add their own influences and takes on the characters and make them better for it.
My characters are always unlucky in love. It’s annoying, but perhaps there is something in me that is suited to characters that have a darkness. Maybe it’s why I play such damaged people when I’m not particularly damaged myself, I would say.
An actor is an actor is an actor. The less personality an actor has off stage the better. A blank canvas on which to draw the characters he plays.
I’m sure some of the characters in ‘X-Men’ had a lot of physically demanding stuff to do, but my character’s pretty much stand-and-deliver, stand there and throw fire at people. There’s no acrobatics or anything.
‘Pyaar Ka Punchnama’ is a universal concept. You can use different set of characters and put them in a situation like this again and again.
All my early books are written as if I were Indian. In England, I had started writing as if I were English; now I write as if I were American. You take other people’s backgrounds and characters; Keats called it negative capability.
The Little Friend is a long book. It’s also completely different from my first novel: different landscape, different characters, different use of language and diction, different approach to story.
I love songs but am inhibited to have my characters burst out to express themselves through songs. I use the route of using old songs at the right places.
When I wrote ‘We Can Be Heroes,’ I was just so excited about the concept of playing loads of characters, and a television series allows you to do that.
Well, I think I’ve made 44 films and only like four times I’ve played real characters I’m just drawn to people who have a pioneer spirit, this extraordinary energy and commitment to their cause.
Working within the limitations of the shared world generally made the writing easier, because I didn’t have to invent any of the characters or background, which is usually the hardest part.
Having portrayed English-speaking Indian characters in British and American projects, I have always wanted to use my mother tongue in an Indian film.
My books always focus on the response of the characters to extreme events. As dark as they get, they are ultimately positive, uplifting books about children who take control of their lives and overcome great adversaries. I think that is why they have been so popular.
The characters I’ve played that I like the most are people that have a lot of obstacles. They have a lot of bad things going on. They’re seeking to do something good amidst all the detritus around them, and they’re aware of how badly they’ve screwed it up. That kind of self-awareness is tragic.
Through these years, I have attempted to create magical moments between my characters because, be it television or films, life is about the moments we create while living through it.
Obsession led me to write. It’s been that way with every book I’ve ever written. I become completely consumed by a theme, by characters, by a desire to meet a challenge.
I still have a problem with nuns. I follow them around like a kitten with a ball of yarn. After a while, all my characters become very close friends.
When written in Chinese, the word ‘crisis’ is composed of two characters. One represents danger and the other represents opportunity.
Essentially and most simply put, plot is what the characters do to deal with the situation they are in. It is a logical sequence of events that grow from an initial incident that alters the status quo of the characters.
One thing I hate in movies is when the camera starts circling around the characters. I find that totally fake.
If you’re doing gags, I think it’s important to have characters who are as strong-willed and impactful as possible.
I probably haven’t had enough gay characters in my stuff. When you’re writing something, you’re thinking, ‘Why couldn’t this person be black, white, gay?’
I think having my life be as private and quiet as possible is a way in which then I can go and play characters.
There is a misperception, if you will, in critical response or even in Hollywood, that I can only do exaggerated characters. Or what they would call over-the-top performances. Well, this is completely false.
I’ve always played characters that were younger than myself.
I plot the first 5 or 6 chapters quite minutely, and also the end. So I know where I am going but not how I’m going to get there, which gives characters the chance to develop organically, as happens in real life as you get to know a person.
All cartoon characters and fables must be exaggeration, caricatures. It is the very nature of fantasy and fable.
I try to write about real women, real people – in other words flawed characters.
You don’t want to have a character say what’s bothering him; you want to define characters by action.
There was no difference between my characters and the life my readers were going to have to face.
Whether it was ‘Gangs Of Wasseypur’ or whether it’s ‘LSTCK,’ the characters are real, and when you see them on screen, you can identify with them.
Anything you write, even if you have to start over, is valuable. I let the story write itself through the characters.
The method in which ‘Vadachennai’ is narrated gives a feeling as if you are travelling with the characters to the different eras where the various situations happen.
I like to play a wide range of characters. The more they’re unlike me, the better I like it.
After the complex characters in ‘Mayaanadhi’ and ‘Varathan,’ my characters in ‘Vijay Superum Pournamiyum’ and ‘Argentina Fans Kaattoorkkadavu’ were bubbly ones.
I was looking to play different characters, and films didn’t offer many choices.
Being of Indian heritage is a challenge – and it’s a blessing as well sometimes – because being good isn’t good enough. You have to be exceptional to play different characters.
I guess it’s flattering that everyone believed I was those characters, but it also is dehumanizing.
I think writers should create characters who are human and have a character arc of their own.
I am, as are most writers, just hugely obsessive, and so are many of my closest friends, who tend to be writers or scientists. It’s a trait of human nature that I’m particularly in touch with. So I tend to project it onto my characters.
Sketches have characters, exits, entrances and are vastly different.
In writing a series of stories about the same characters, plan the whole series in advance in some detail, to avoid contradictions and inconsistencies.
I was always cutting dialogue out when we were rehearsing, and when I produced movies, too. I felt that people don’t say things in life – they act, they do things. I always wanted my characters doing, rather than saying what they were doing – which was redundant.
The thing that cracks me up is how these reality characters start out thrilled and excited just to be on television, and how they move to thinking they are as big as the Friends.
Writers seldom choose as friends those self-contained characters who are never in trouble, never unhappy or ill, never make mistakes and always count their change when it is handed to them.
I still get up every morning at 4 A.M. I write seven days a week, including Christmas. And I still face a blank page every morning, and my characters don’t really care how many books I’ve sold.
It’s really about, oh come on, this guy wouldn’t say that or he wouldn’t do that, you know, it’s about the characters, about the story, about the situation.
I think all those actors from that generation, like Bogart – they were wonderful actors. They didn’t act. They just came on and they did it, and the characters were wonderful.
One of the amazing things about ‘Seven Samurai‘ is that there are a lot of characters. And considering you have so many, and they all have shaved heads, and you’ve got good guys and bad guys and peasants, you get to understand a lot of them without too much being said.
I am really happy that even though I am stuck in the comedy genre I have not been typecast. I am still getting to experiment a lot with my characters, which is a boon.
Other people, including me, have written books with main characters who were old and rich. Or old and brilliant. Old sages, old wizards, old rich people.
We must consider the distinctive characters and the general nature of plants from the point of view of their morphology, their behavior under external conditions, their mode of generation, and the whole course of their life.
Increasingly I think of myself as some strange and solitary conductor, introduced to a group of very dynamic musicians who happen to be my characters, and I have no idea how they are going to play together, and I have certainly no idea how I am going to put manners on them.
With each film, I get more and more involved and it’s more and more time-consuming. Also, I like to break myths and people’s preconceived ideas. My characters have always stood for something, have always had an opinion, although they’ve never really rebelled.
I’m interested in characters that have just a touch of madness.
Once the world has been created, the fantasy author still has to bring the story’s characters to life and unfold a gripping plot. That’s why good fantasy is such a hard act to bring off.
Exploring the dark side of my characters’ personality is my forte.
The period characters I have played have all been these wonderfully forward-thinking women.
I would call it a comedy variety show. We have some people just doing straight standup. We usually try to have one musical act of sort. So its just people being funny in different ways, not just sketch, not just standup, not just characters, all of those things.
I try to pick characters that I find interesting and complex and that I feel I can bring something of myself to.
I think the type of actor I am, I tend to play strong leading female characters. The shows I’ve been on happen to be science fiction genre.
Plotting is difficult for me, and always has been. I do that before I actually start writing, but I always do characters, and the arc of the story, first… You can’t do anything without a story arc. Where is it going to begin, where will it end.
Television’s so quick, and there’s so many other fun elements to it, but you don’t get such good scripts and the time to really make much more three dimensional characters.
I just have my characters say my controversial opinions and then hide behind them.
I started doing standup when I was in college, and I would incorporate a lot of characters into my act.
It’s why you create characters: so you can argue with yourself.
I fall in love with characters when they’re out of their element or are uncomfortable and you really feel for them in a knee-jerk sympathetic way.
‘The L-Word’ was such a great show because of the amazing writing and characters, but maybe because it was such a new concept, people couldn’t pick up on it, but I think it was down to the dynamic characters and how well done it was.
I put a lot of myself into my characters when I write.
There’s no such thing as a perfect person, so it makes no sense to write a perfect person. I don’t know any author who’d try. And we write characters, not representations of groups.
We’re always trailing, as far as the amount of roles that are written for us and the films that are being made that have black characters in them. I don’t know if that’s going to change.
Even fictional characters sometimes receive unwarranted medical opinions. Doctors have diagnosed Ebenezer Scrooge with OCD, Sherlock Holmes with autism, and Darth Vader with borderline personality disorder.
I like video games, but they are very violent. I want to create a video game in which you have to help all the characters who have died in the other games. ‘Hey, man, what are you playing?’ ‘Super Busy Hospital. Could you leave me alone? I’m performing surgery! This guy got shot in the head, like, 27 times!’
The futures and ultimate fates of the characters in The Snow Queen are profoundly changed by choices made in their own minds or hearts, as well as choices unexpectedly forced on them by things beyond their control.
I usually don’t find myself reacting to my characters. I just create them … And let the audience decide whether they’re empathetic or scared or compelled to cheer me on.
I’ve played American characters before, so I’ve naturally become more at ease. Still, there are some American words that I cannot get my tongue around, but if you keep it flowing, you are never too far away from the truth.
I was like the class clown in school so I guess I would say I did like the attention. In church I did a lot of plays, my mother made me play characters, do a lot of drama and acting, trying to become someone else. So it helped me create who I am, to create Snoop Dogg.
I like all my characters in one way or another, or at least I understand them.
I try to distinguish my characters from each other.
I am a method actor, but I’m also a film actor as well as a method actor. Characters that don’t have humility, whether they are heroes or villains, are hard to relate to. All characters in every aspect of what we do should have humility. If they don’t, then they’re a cartoon character.
They’re all based on factual characters. Well, a good amount of them. That’s why I was attracted to this genre anyways, because these characters are so large and cartoonish, they’re like caricatures, I just felt that there had to be a film made about them.
The human mind has infinite capacity to rationalize, and evil characters just push that boundary a bit. Whatever they’re doing, they think it makes sense to do it, and they think they have a good reason to do it. In short, they feel justified.
All of the characters in my films, they share one commonality. It doesn’t matter whether they are good or bad, it doesn’t matter whether they are smart or stupid, these characters all take responsibility for their own behavior. I’m much the same.
Before there was any talk of a movie, people would sometimes ask me what actors I would imagine playing these characters. And the only thing I could ever say is: I have such a clear idea of these characters that they’d have to play themselves.
I like to hide behind the characters I play. Despite the public perception, I am a very private person who has a hard time with the fame thing.
A director is the captain of the ship; he gets the vision of the film much before anyone else can. While I want to experiment with characters, I know a good director means I am in safe hands.
