Quotes About Characters

The dance of capital, the harmony of a balance sheet, and the way these abstractions interact with people, their characters and desires, either as individuals or in a mass. Understand that one is the other, that they are two separate ways of expressing the same thing, and you understand the whole nature of business.

The platform that anime builds on, therefore, is not only characters and worlds but also the social energy that attaches to them.

Non badavo granché a tematiche o felicità di stile, e saltavo le descrizioni minute di tempo atmosferico, paesaggi e interni. Volevo personaggi in cui potessi credere, e volevo provare curiosità per ciò che avrebbero vissuto. […] Romanzi a sensazione, alta letteratura e tutto ciò che stava nel mezzo: a ognuno riservavo lo stesso rude trattamento.

My needs were simple I didn't bother much with themes or felicitous phrases and skipped fine descriptions of weather, landscapes and interiors. I wanted characters I could believe in, and I wanted to be made curious about what was to happen to them. Generally, I preferred people to be falling in and out of love, but I didn't mind so much if they tried their hand at something else. It was vulgar to want it, but I liked someone to say 'Marry me' by the end.

My needs were simple. I didn't bother much with themes or felicitous phrases and skipped fine descriptions of weather, landscapes and interiors. I wanted characters I could believe in and I wanted to be made curious about what was to happen to them.

It's a commonplace of parenting and modern genetics that parents have little or no influence on the characters of their children. You never know who you are going to get.

I wanted characters I could believe in, and I wanted to be made curious about what was to happen to them. Generally, I preferred people to be falling in and out of love, but I didn't mind so much if they tried their hand at something else.

I wanted characters I could believe in, and I wanted to be made curious about what was to happen to them.

That was the beauty of 'Twin Peaks.' The young people had just as deep of storylines as the older generation in town.

I've always liked TV shows that have slightly unlikable leads, where you root for them in spite of a lot of things. I know it's not common with shows with young people; they have to be so likable. But, I mean, teenagers just generally aren't very likable. I know I wasn't as a teenager.

I once knew a house rather like The Land of Smiles - an old house occupied by a varied collection of young people, mainly students. However none of these people were true models for the characters in the book, though their way of life may have been.

I start with an idea or a problem or a conflict, or even a situation that might be pertinent to the lives of young people, then the characters grow from that point. I try to make strong characters that change and develop and learn from their mistakes.

I love the freedom of voice-over and the ability to play multiple characters I could never play in real life: a hot young woman, a little boy.

I've always been fascinated by young women who come to New York. The characters in 'Lipstick Jungle' were once young women who came to New York and we see their early experiences through flashbacks.

All the Shakespeare parts are for young women, mostly.

'General Hospital' was so massive in the 80s and that's when people my age or even younger watched that show. A generation grew up on that show, Luke and Laura, I came in on the cusp of that so there's still a lot of 'Frisco.'

I've always played characters that were younger than myself.

Doing voiceovers is so great because even though many people would think it's just your voice, you really do use all your physicality. I've done everything from playing a butterfly to Alice in Wonderland when she's 10 feet tall, so it allows you to be an actor and build new characters.

If your dream is to tell stories, interesting stories, play interesting people, that's the bottom line. The people that I play have to be extraordinary.

I think writers process their own experiences through the characters and situations they write. So for Batman, I used my own experience of losing a loved one. Grief is a strange place; it's like an altered state. You might sleep too much, so you can see the dead in your dreams.

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.

Today's youth cannot miss something they have never known, but I fear that there are no current fictional characters whose impact and influence will last with such abiding affection into their 'sore and yellow' as this splendid man's creations have in mine!

The trick to making a story matter is that every now and then, somebody you care about has to go. If it's somebody that you don't care about, then it doesn't really have - the stakes aren't there. But if you do that every now and then, then the story matters to people. And there are actual stakes involved, emotional stakes.

The real trick to these movies and making the big action sequences work - and I've forgotten this sometimes and screwed it up - the characters really have to be humanized. Because you can have the greatest special effects in the world, but if you don't care about the people in those effects, there's no impact.