Quotes About Characters

When you're trying to do a traditional book musical like 'Book of Mormon,' it's always nice to have characters that could very naturally break into song, and its good to pick a subject matter that allows that to happen in a way that doesn't disarm the audience.

The point of my explanation is I'm very subjective when it comes to describing my characters: they are all a little bit a part of me from the outside in or the inside out - but to put your mind at ease, I built Paul Snider from the outside in.

I can't really iterate what I look for in a script. It's a very subjective thing. Like an organic attachment you have with the script and characters.

I love the novelist's freedom of going into different people's subjectivity and being able to work with them as characters.

That's what happens in a good horror movie: there are always metaphors of greater subjects like humanity and empathy and compassion. It's not about the action and scary moments: You really care about these characters because they're mirrors of our own reflections.

A lot of the characters I play have problems, they are marginalised, they have serious psychological problems, problems with relationships, with childhood. These are big subjects, big subjects. You can't balk at work like that. As an actor, that's as good as it gets.

I wanted to write a novel where the meaning is in the story and characters and the subliminal, in the shades and nuances. It's exciting to develop that as a writer.

I used to subscribe to Nintendo Power. The first issue had 'Mario 2,' and it had all the characters rendered in clay. So I started making all of these characters out of clay.

I have grown up watching films like 'Dil To Pagal Hai,' and 'Kuch Kuch Hota Hai,' where all the leading characters had a substantial part to play.

In film, because you know where the ending is, characters can change, but in television, you substitute revelation for change, and that can be hard to pull off.

I think it's much harder to make dramatic films, and much harder to create a film that's engaging, where you're actually properly looking at real characters and subtleties.

In any story, drama may be intensified by the characters realizing by how narrow a margin they had managed to succeed - that is, where coincidence played a role. This is one of the more realistic ways to use coincidence because rarely do we realize how important a coincidental event is until after the fact.

even realize I was writing a play. I just used different characters' names so that if someone found my pages, they wouldn't know I was writing about myself. But eventually I let a close and trusted friend read what I'd written, and he said, "Man, this is a really good play.

The attitude to foreigners is like the attitude to dogs: dogs are neither human nor British, but so long as you keep them under control, give them their exercise, feed them, pat them, you will find their wild emotions are amusing, and their characters interesting.

I've played a lot of mothers in my movies.

I think romance is friendship and attraction sort of meeting together and that does influence what I'm writing a lot. I try to establish the attraction, obviously, but I also think it's important to show the characters having actual conversations about things other than their feelings for each other - and to develop their friendship on the page.

Disney World is celebrating its 40th birthday! You can tell the characters are getting old. In addition to Snow White's seven dwarfs, she now has 25 cats.

I'll keep on acting 'til they wipe the drool. I like the business. I like to do different parts and diverse characters. I haven't lost my enthusiasm yet!

I don't like when people relying on me in any kind of business way. I'm just a writer. I'm just noodling around and trying to come up with great characters and fun ideas.

And I found a statement by Hawthorne which helped to explain his method: "I have sometimes produced a singular and not unpleasing effect, so far as my own mind was concerned, by imagining a train of incidents in which the spiritual mechanism of the faery legend should be combined with the characters and manners of everyday life.

It is my job to create universes, as the basis of one novel after another. And I have to build them in such a way that they do not fall apart two days later. Or at least that's what my editors hope. However, I will reveal a secret to you: I like to build universes which do fall apart. I like to see them unglued, and I like to see how how the characters in the novel cope with this problem. I have a scret love of chaos. There should be more of it.

Not as rabid a fan as, say, Nicholson Baker, but I do believe that The Poorhouse Fair, Of the Farm, and The Centaur are all great books, maybe classics. And even since '81's Rabbit Is Rich—as his characters seemed to become more and more repellent, and without any corresponding sign that the author understood that they were repellent—

Like most of Salinger's characters, she wouldn't be such a fuckup, you felt, if these fucked-up things didn't keep happening to her. ... We believe in the wrong things, I wrote, using the same pen Boomer had used on his arm. That's what frustrates me the most. Not the lack of belief, but the belief in the wrong things. You want meaning? Well, the meanings are out there. We're just so damn good at reading them wrong.

Normal people don't have to decide what's worth remembering. You are given a hierarchy, recurring characters, the help of repetition, of anticipation, the firm hold of a long history.