Quotes About Characters

I prefer to do cable TV because it allows you the time to do other things. I definitely have an eye on doing more work in features and playing different characters, but I am also a big fan of going on vacation and playing golf and going to the beach.

With both Caddyshack and Vacation, it's not like the subjects were serious enough that they engaged my interest for another round. I love the characters, and the actors were great, but I didn't see the need to make another Vacation movie.

I think going into 'New Moon,' I knew the characters better. I knew the world better and I knew the actors who would be playing these roles. I had a sense of their rhythms and tones. 'Twilight' I was writing in a vacuum. We hadn't cast it yet.

When you write your first book, you're writing in a vacuum; it doesn't matter how much time it takes. And then with the second book, you're on contract, and you have deadlines, and it's a little bit tougher. And also the expectations. You don't want to let your characters down.

The characters are that vague TV high school age, but they'll be in high school as long as we need them to be.

I've found that in fiction - and this is just the kind of writer I am - I can't really work from an outline. I have a vague idea of the characters at the beginning of the book, and then I have a vague idea of whatever the end of the book will be, but I can't approach creative nonfiction like that.

If you compare the violence in 'Happy Valley' to the violence in something like 'Game of Thrones,' it's nothing. But it is shocking because it's so real and grounded. The characters could live next door to you - they're not in a remote fantasy world.

Anything you write, even if you have to start over, is valuable. I let the story write itself through the characters.

As an actor, the ambition is to play interesting characters. And in the indie genre world, the budgets are low. That allows me, as an actor, not to have a financial value behind my name, to justify me being in these bigger parts for these types of movies.

I am very interested in female characters and bringing a new perspective to mediums where not necessarily that's been valued at all.

You are always hoping that movie audiences are interested in characters and interested in story values rather than just mindless special effects. But you never know.

Fiction wouldn't be much fun without its fair share of scoundrels, and they have to live somewhere.

PDR: Persons of Dubious Reality; refugees from the collective consciousness. Uninvited visitors who have fallen through the grating that divides the real, from the written. They arrive with their actions hardwired due to their repetitious existence and the older and more basic they are, the more rigidly they stick to them. Characters from cautionary tales are particularly mindless; they do what they do because it's what they've always done. And it's our job to stop them.

The problem with pianos," I began, "is that there aren't enough to go around. Lots of people in the BookWorld play them, they frequently appear in the narrative, and they're often used as plot devices. Yet for an unfathomable reason that no one can fully explain, there are only fifteen to cover the entire BookWorld.

I have come to realize that the rhythm of the film is one of narrative. I am telling the story. It is as if I were hidden behind the screen, saying: Then such and such a thing happened. The characters don't seem to be living a life of their own, but a life that is being narrated. Perhaps that's how it should be in a fairy tale.

In the depths of my heart, traced by nature in characters which nothing can efface. I need only consult myself with regard to what I wish to do; what I feel to be good is good, what I feel to be bad is bad.

I always had a lot of confidence in my work and the unique flavor I like to bring to my characters, but you know I'm not a huge dreamer.

Science fiction writers put characters into a world with arbitrary rules and work out what happens.

I work really out of mythology, so often I work out of a story that has remained lodged inside somehow, or I work out of history, you know, out of a sense of historical inevitability with characters.

I think the first trick to writing a feminist work is to write plenty of women. That way you get to write characters, instead of worrying about paradigms.

Actors want to work. Give them characters they want to play, or a story they want to tell, and hopefully the budget will follow.

I never practice before, I never work hours on a script. I just choose my characters and trust them, and after that, it's about the director taking your hand.

When I work, I live in a fantasy world. It's great. I get to play different characters who inspire me.

Usually when you start the characters, the first thing is the script. Your design work is about telling the story. It's later that casting comes into play, but it's a huge component.