Quotes About Characters

When I go and speak now at all sorts of conferences, later in the night there's always a better Maxie Walker than me. Billy Birmingham's legendary for basically being able to verbally kneecap any of a number of Australia's characters, particularly in the commentary box.

I was 17 when I decided to write stories as big as cathedrals, overflowing with the kind of memorable and audacious characters Walker Percy, Ernest Hemingway and Saul Bellow created.

Laurel and Hardy are among my strongest influences, and I think they're perfect examples of two naive, kid-like characters that are still funny today. In fact, they're a lot like SpongeBob and Patrick, walking around in their own little world and causing a fine mess.

Nothing, I find, has prepared me for the sight of my own characters walking about. A playwright or screenwriter must expect it; a novelist doesn't and naturally concludes that she has gone mad.

Characters can become boring. That's what's tricky about television. It goes on and on - you're playing this same character for five seasons and it gets easy to fall into just walking on the set and assuming you know how to play a scene.

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.

I just want to keep laying down really great, strong characters, and the more I go unrecognized, the better job I feel I'm doing.

I'm a big believer in respecting the fans. How do I make a science-fiction or fantasy setting relatable? How do you make the characters real?

Even now, I change my style and clothes from one day to the next, but during high school I blended in. I think a lot of people are that way. I guess that's why I can write about an array of characters.

Content is getting its due respect. Our audience wants to see characters on screen and want to see actors play new roles, adapt different body language.

I have been part of some fantastic shows and played great characters, including a double role in 'Dil Hai Ki Manta Nahi' and a negative one in 'Sanjivani' because I was bored of playing positive characters.

I tend to play the dangerous characters, the boyfriend, that sort of thing.

Cinema is actually very backward. When we see gay characters or people of color, they're always there for that reason. I'm personally kind of sick of that. I love to see characters who just live and breathe and are comfortable in that space.

Iwan Rheon is a great actor, and he's going to go on to a long brilliant career. And most of the characters he'll play will not be evil. He's not one of those who can only play a bad guy.

This was more of a cartoonish thing for me and it kind of took me back to SCTV, in a way, where the characters are just a little broader and you can have that kind of fun going a little over the edge.

I had always done broader characters, but going to UCB and speaking to my own voice was important for auditioning for TV and film.

I had always enjoyed playing characters and dressing up, but it wasn't until I got to school and I started getting on stage for plays that I got the bug.

There's something really satisfying if you've created a bunch of characters that have withstood 25 episodes.

A lot of actresses say they are 24 when they are 34 but I find that ridiculous. I wish we didn't succumb to the youth-is-all ideology in this industry, because there is a huge audience out there who want to relate to characters of their own age played by actors of their own age.

Getting to meet people that I've admired my entire life, and getting to meet them in such a way where they're coming in to play completely different characters than I had ever seen them do is just wonderful.

Actors usually feel skeptical about double hero films because one character might overshadow the other, but the late scriptwriter K. Subash has penned 'Karuppu Raja Vella Raja' in such a way that Vishal and I have equal scope in the film.

'Atomic Blonde' is about the characters' bigger existential crisis and their world. It's not so much the conceit of the spy game; it's more that being a spy sucks. But we're going to make it fun to watch.

Before you start production, you have characters you have created without actors in mind, then all of a sudden you've got actors. They bring an enormous amount in creating these characters, and creating the dynamics between the characters that you've written.

I'm truly, 100% guided by the characters and my Muse. If one of the characters suddenly decided to do something very different, I'd just go with it. It's much easier to let the Muse drive than for me to try to steer.