Quotes About Characters

All fiction is about people, unless it's about rabbits pretending to be people. It's all essentially characters in action, which means characters moving through time and changes taking place, and that's what we call 'the plot'.

Unlike novel characters, comic book characters last an eternity. When a character is changed beyond recognition, there's no longer the merchandising aspect.

Unlike life, you've got more or less complete control over what's going on in your stories. That's not to say you can make characters do whatever you want them to - they usually have a life of their own if you've done your job properly.

I'm not sure if my story will become a movie. Some of my western friends sent my story to people they know in the movie industry. But one consistent response was there aren't any main western characters in my story, so it's unlikely to be made into a movie in English.

I love the individual characters that cricket produces and, more than most other sports, the unlikely heroes.

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.

I had always studied French and was obsessed with French films. I hated the way American films always had happy endings. I liked the way French films had dark and unpleasant characters; it was much more realistic.

I get cast as a lot of sympathetic characters. I'd like to play someone really unpleasant.

I have my own difficulty with movies in which the suffering of the characters is too real, and many find it difficult to watch comedies that rely too heavily on embarrassment; the vicarious reaction to this is too unpleasant.

When I'm writing a novel, I'm dealing with a double life. I live in the present at the same time that I live in the past with my characters. It is this that makes a novelist so eccentric and unpleasant.

Know what your characters want, know what they need most, know what they fear most, and don't be fearful of facing it, no matter how unpleasant it may be.

It is so gratifying for me the degree to which the Minions have been embraced. It's almost unprecedented in the CG animated world. It's amazing. That's really all a creator hopes for, that their characters grow beyond them. It's like Darth Vader and Batman. They've gotten bigger than their creators.

I like to play unpredictable characters, and I like to be unpredictable in what movie I'll do.

I, Tonya' is definitely a calling card for people in the industry to acknowledge who I am or the basis on which I can perform and take characters who could be absurd or fake or unrealistic or obnoxious and try to give some depth and humanity to them.

The most unrealistic thing I've ever read in comics is when some group of characters calls themselves the Brotherhood of Evil or the Masters of Evil. I don't believe any character believes their goals to be truly evil.

A lot of times, gay characters are represented in unrealistic or stereotypical ways.

I wasn't thinking of a sequel when I finished 'Life Class.' What changed my mind was the perception that the characters had a lot of life left in them, a lot of unresolved conflicts, and also I became interested in the Tonks pastel portraits of facially disfigured soldiers and in the whole area of facial reconstruction.

I find flawed characters much more interesting than perfect ones and enjoy the challenge of making readers root for them in spite of their unsympathetic path and destructive choices.

There are stories to be told that are still untold and characters to be portrayed that haven't been portrayed correctly. So there's work to be done.

The characters I like offer a room for imagination about their untold past and future, even when the given scripts don't explain enough about them.

I was unusual looking - I didn't have the look of that time. If you look at 'Lucas' - and, basically, my first five or six movies - the characters are not described in the scripts as attractive people.

I like to take these unusual characters and then make them as normal as possible, because we all know that the tragedy and the abnormal always hides itself behind the normal.

When you do something unusual, the audience doesn't 100 percent know what you're up to in the beginning. And if you're doing a character comedy, they haven't learned the characters yet.

'Mr. and Mrs. Smith' - every scene is from those characters' point of view. They're in literally every scene, very unusual in a big studio film.