Quotes About Characters

During the Civil War, the Underground Railroad became a spy network, so we could still have fresh stories for these characters years into the future, with desperate people still doing desperate things.

'Brooklyn Nine-Nine' is an idealized, fun comedy world in which feminism is an underlying value that all the characters have. Equality is a value all the characters have. I mean, I want to live in that world. I'd like to make the world feel more like that, but I understand that it's a fantasy.

It was a completely different experience working on 'Chhichhore' with Nitesh sir. The way he narrates and the way he directs actors is completely unique. He has that rare quality of blending a great story with finely-etched characters and an underlying message.

I loved the Scarecrow and the Tin Man and the Lion and you could kind of see the actors' faces in them. It wasn't an entirely new face sculpted around them. What made those characters so human and appealing to me was seeing those great actors underneath there. They weren't lost behind a bunch of appliances.

No matter what world you're creating, whether it be a real world or a fantasy world, you still have to make the characters relatable or somewhat understandable.

The show understands its tone and characters intimately. 'Cobra Kai' has smart people doing silly things - which I can't get enough of.

My characters live inside my head for a long time before I actually start a book about them. Then, they become so real to me I talk about them at the dinner table as if they are real. Some people consider this weird. But my family understands.

Haseeb Hassan is a fantastic director. He really understands characters and their relationships. He always gives sound advice and direction.

I'm a big believer in making sure that action is not confusing and the audience understands what the characters are up to and what they're doing.

I've never really understood that. It's a funny thing; people sometimes accuse us of condescending to our characters somehow-that to me is kind of inexplicable.

You know, I've always just made the choices on my characters based on my connection to them, and I've made decisions that maybe other people haven't understood; why I passed on something, for instance.

Faulkner's characters, too, were uneducated. They were deprived, but they were allowed to have very rich inner lives. I want to advocate for that, for inner lives that are much more complicated and more poetic than we think.

As a writer, I try to appeal to the 'elusive boy audience' the same way I try to appeal to everyone: I do the very best I can to create interesting characters, addictive plots, tons of conflict, believable settings, unexpected plot twists, intriguing beginnings, and satisfying endings.

Watching familiar characters take unexpected turns is very appealing.

With 'Always Be My Maybe,' this has to be funny; this has to be entertaining. And then, when we stop for these moments with the characters that are emotional, you kind of feel it more because it's a little bit unexpected.

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.

When my characters are questioning things, it's not me leading up to an answer; it's me asking those same questions and letting the characters' lives unfold and seeing where it takes them.

The woeful tales of 'Super Mario Bros.' and 'Street Fighter' have taught studios that merely slapping a name to a movie is not enough to bring in the fans of the franchise. Also, the way games now unfold their stories more parallels that of a movie, with characters and plot points actually meaning as much as a high score.

I like to be surprised. Fresh implications and plot twists erupt as a story unfolds. Characters develop backgrounds, adding depth and feeling. Writing feels like exploring.

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.

Unfortunately, in television today there are very few African-American characters who are human beings. They are typically two-dimensional stereotypes, cookie-cutter types.

Good fiction writers have an instinctive understanding of human nature. That's what makes stories and characters captivating. Good spiritual writers share what they sincerely practice themselves.

I was thinking about what would it be, what would the characters be like, and it just suddenly dawned on me that, hey, nobody is doing an underseas show. So I started drawing these weird invertebrate animals, various characters like crawfish and starfish and squids and sponge.

I think sketch writing is a good spot for everyone to start because it requires you to develop characters, have a beginning, middle and end and have a bunch of jokes in a short amount of time.