Quotes About Characters

I had a friend who had done the cinematics for 'Splinter Cell: Conviction,' so he kind of indoctrinated me into the series. I did a bunch of temp stuff for him - I roughed stuff in the game for him, playing about nine characters - just so he had some character templates to work from.

There are no boundaries while enacting negative characters and we are free to perform in any manner, it's fun.

I feel that in horror movies, especially, if you don't care about the characters, you've lost the audience. No one cares, and it becomes a process of watching people get killed.

Where would David Copperfield be if Dickens had gone to writing classes? Probably about seventy minor characters short, is where. (Did you know that Dickens is estimated to have invented thirteen thousand characters? Thirteen thousand! The population of a small town!)

I don't mind nothing happening in a book, but nothing happening in a phony way--characters saying things people never say, doing jobs that don't fit, the whole works--is simply asking too much of a reader. Something happening in a phony way must beat nothing happening in a phony way every time, right? I mean, you could prove that, mathematically, in an equation, and you can't often apply science to literature.

from his random observations after reading David Copperfield by Charles Dickens) In the Old Curiosity Shop I discovered that in the character of Dick Swiveller, Dickens provided P.G. Wodehouse with pretty much the whole of his oeuvre. In David Copperfield, David's bosses Spenlow and Jorkins are what must be the earliest fictional representations of good cop/bad cop.

Fictional people are people, too, otherwise why would we care what happens to them?

some of the characters are

Who's Who in The Incredible Adventures of Professor Branestawm

It's been noted that one of the keys to Alfred Hitchcock's success as a filmmaker was that he didn't draw characters as much as he drew character types; this is how he normalized the cinematic experience.

Romance… affection… these are what give our lives value. They justify all the suffering of life. My goal is to always reinvent heroic romances and present larger-than-life characters that will inspire readers to fall in love and expand their own lives.

Plot is like Soylent Green: it's made of people.

Mark Spitz didn't ask about Harry. You never asked about the characters that disappeared from a Last Night story. You knew the answer. The plague had a knack for narrative closure.

The plastic-covered notebooks were candy-colored and palm-size, brimming with the characters and arcana of a prosperous and long-standing children's entertainment combine. The creation myth of the product line concerned the adventures of a clever, effeminate armadillo and his cohort of resourceful desert critters.

A piece of art really works when you see yourself in the main characters and you see a glimpse of yourself in the villains

That perhaps is your task--to find the relation between things that seem incompatible yet have a mysterious affinity, to absorb every experience that comes your way fearlessly and saturate it completely so that your poem is a whole, not a fragment; to re-think human life into poetry and so give us tragedy again and comedy by means of characters not spun out at length in the novelist's way, but condensed and synthesized in the poet's way--that is what we look to you to do now.

Literature had taken possession even of her memories. She was matching him, presumably, with certain characters in the old novels...

For the vision of a novelist is both complex and specialised; complex, because behind his characters and apart from them must stand something stable to which he relates them; specialised because since he is a single person with one sensibility the aspects of life in which he can believe with conviction are strictly limited

I dig out beautiful caves behind my characters: I think that gives exactly what I want; humanity, humour, depth. The idea is that the caves shall connect, and each comes to daylight at the present moment" (Diary 2: 213).

The pale organisms of literary heroes feeding under the author's supervision swell gradually with the reader's lifeblood; so that the genius of a writer consists in giving them the faculty to adapt themselves to that - not very appetizing - food and thrive on it, sometimes for centuries.

My knowledge of Mr. Forster's works is limited to one novel which I dislike; and anyway it was not he who fathered that trite little whimsy about characters getting out of hand; it is as old as the quills, although of course one sympathizes with his people if they try to wriggle out of that trip to India or whereever he takes them. My characters are galley slaves.

Dostoevski's lack of taste, his monotonous dealings with persons suffering with pre-Freudian complexes, the way he has of wallowing in the tragic misadventures of human dignity—all this is difficult to admire. I do not like this trick his characters have of sinning their way to Jesus or, as a Russian author Ivan Bunin put it more bluntly, spilling Jesus all over the place.

Tolstoy's prose keeps pace with our pulses, his characters seem to move with the same swing as the people passing under our window while we sit reading his book.

There is a technical, literary term for those who mistake the opinions and beliefs of characters in a novel for those of the author. The term is 'idiot'.