Quotes About Characters

Joe and I have always been drawn to ensemble storytelling. We like the idea of telling stories from multiple characters' points of view and thinking about the story from multiple characters' points of view.

I do develop characters for songs, and I think of everything as storytelling, in a way. But I don't plan out what they're going to sound like. I just sing over what I've done.

In the music industry, you meet some not very nice people, some very strange characters.

Hollywood does draw some very strange characters, and then the power of Hollywood and what they can do with it becomes like a blood sport to them.

It's strange: I love pop music, and I really can enjoy it, but I didn't feel like the characters within pop music - like when Madonna sings 'Crazy For You', for instance, I don't feel like I would ever be the character she takes on in that song. I would never feel... I don't have that confidence in me.

It's strange to look back over a full season. Our characters have accrued all these memories, but so have we, the actors. And sometimes the character memories and the actor memories bleed into each other.

Increasingly I think of myself as some strange and solitary conductor, introduced to a group of very dynamic musicians who happen to be my characters, and I have no idea how they are going to play together, and I have certainly no idea how I am going to put manners on them.

I find more of an authenticity in people who are a little strange - so I really like characters who are just the tiniest bit weird. I find enormous comfort in that - someone who's kind of normal just doesn't feel as true.

There's something strange about theater. My characters consistently demonize elitism, but of course it's taking place in a theater where only so many people can see it. I've been in silly popcorn movies - the kind of thing that as an actor you might feel embarrassed about - but those movies reach many more people.

I think there's an essential problem in movies and TV that I think a lot of people experience now: Audiences are way more interested in the actors than the characters that they're playing. It's a strange thing.

It's a strange thing when someone passes away. It's always when you're not expecting it that you're affected by it. When we first started filming, we were filming with existing characters in a location that we'd never been before.

Wonderful characters rotate around and through bookshops on a daily basis, competing with and possibly even triumphing over fiction when it comes to entertainment, strangeness and inspiration.

I first heard about 'Stranger Things' from people dressed as the characters coming up to me at conventions saying, 'Hey, you have to see this show. It's 'Goonies.'

Here's the thing with the costumes for 'Mommy': Given the background and social strata that the characters come from, you can't really imagine that they've gone shopping lately, so we went for that very normcore, fashionless era in history, the early 2000s, which was completely transitional.

As I had visualized, 'Heroine' is shaping up to be a very contemporary film with a different premise and strata. This film, like most of my other films, is a blend of facts and fiction. The film has a larger span, more characters, and costumes... a journey that revolves around an actress's life and the showbiz.

Giving voice to marginalised characters is extremely important to me. I want to explore the pain of disenfranchisement, the social strata and boundaries we create and how to make them more permeable.

There's the theory that nudity doesn't really make something sexy the characters and their relationship make it sexy.

This poster, which I still have on my wall 20 years later, contains all 1,945 of the j?y? kanji , the characters designated for basic literacy by the Japanese Ministry of Education. Most

I learned that each character can be broken into components: far left, top, middle, etc. These LEGO pieces, referred to as radicals, form the building blocks from which all kanji are made.

The most complicated letters in English, like E and W, have four strokes. Many Japanese characters have more than 15 strokes

Fortunately for writers, literary characters don't have unions.

We even talked like Hemingway characters, though in travesty, as if to deny our discipleship: That is your bed, and it is a good bed, and you must make it and you must make it well. Or: Today is the day of the meatloaf. The meatloaf is swell. It is swell but when it is gone the not-having meatloaf will be tragic and the meatloaf man will not come anymore.

I would call it a comedy variety show. We have some people just doing straight standup. We usually try to have one musical act of sort. So its just people being funny in different ways, not just sketch, not just standup, not just characters, all of those things.

Of course it would be great to sell lots and lots of copies of The Beast of Cretacea. But the bottom line for me is to sell enough copies to convince my publisher to let me do a sequel. I spent three years creating the world of Cretacea and the personalities of all the characters who inhabit it. All I want to do now is go back.