Quotes About Characters

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. But I have to decide the importance of each and every memory. I only remember a handful of people, and in order to do that, I have to hold tight, because the only repetition available—the only way I am going to see them again—is if I conjure them in my mind.

The Artist's impressions of a walk in the woods. The Artist's view on viewing. The Artist on Art. How do you get your ideas for stories, Mr. Valentine? Well, I simply exploit everything I come into contact with. One ended, of course, by losing all spontaneity. You saw people as characters, sunsets as an excuse for similes—

Women are odd," he said, to extricate himself. "Two or three of them have told me they're sure I modeled one of my characters on them. And they were complete strangers, women I'd had nothing to do with. What kind of delusion could that be?" "Lots of women are unhappy, so they console themselves with delusions.

Characters you'll find difficult to forget (besides the two lead characters), include the astute Jim Traft, Sr., Molly's semi-outlaw brother Arch (Slinger) Dunn; faithful Andy Stoneham; kind-hearted Mrs. See; the rollicking cowboy, Curley Prentiss; the despicable villain, Hank Jocelyn; the supposedly deaf cook, Jeff Davis; Molly's embittered mother; Ring Locke, the range boss; and a host of other characters who play cameo parts.

While these characters split along the lines of gender in their thinking about masculinity, "Spunk" presents conflicting views held by the men within the Eatonville community.

I love playing characters with different accents. It's a lot of fun.

I have had a lot of dreams come true as a writer... I've gotten to work with artists I adored as a reader; I've gotten to write characters that changed my life as a kid.

I don't agree with the idea that my characters are unlikeable.

I love actors, and I love projects that give them space and room, and I aim for these projects where the characters are that important.

I have done 16 films with David Dhawan and I have tried to do every character differently, be it Sharafat Ali, Mutthu Swamy or Calender, because of my theatre experience.

I love Tike Alicar, The Anarchist. But I love Edie Sawyer, U-Go Girl, too. I was a little in love with her.

I couldn't give 'Vikings' away - I mean, I love these people. And I'm not sure anyone else writing it would necessarily have the same feeling towards the characters that I do.

I was always going to direct. I wasn't going to hand my characters over to anyone else.

I was a 'name' in Europe because the type of picture I appeared in and the characters I played had a special appeal for them.

Never argue with your characters; they know themselves better than you do.

Now, I love movies so much, but I find a lot of movies to be arrogant in the way they're kind of know-it-alls - they have perfect characters on the screen that know everything about themselves.

It was at this time that he devised the idea of having characters reappear from novel to novel, and the first novel to use this technique was Le Père Goriot in 1834. The idea may seem simple now to modern readers, but having characters reappearing in novels over a time period creates an impression as though they have lives of their own.

It is from the shock of characters, and not from the struggle of opinions, that antipathies are generated.

Tell the story as if it were only of interest to the small circle of your characters, of which you may be one. There is no other way to put life into the story.

Hell, the first thing you've got to do if you're going to make a picture is to get a story. The next thing is to get a good script, the next thing is to figure out who the hell is going to play in it, your characters, and then after that to make it.

Overuse at best is needless clutter; at worst, it creates the impression that the characters are overacting, emoting like silent film stars. Still, an adverb can be exactly what a sentence needs. They can add important intonation to dialogue, or subtly convey information.

Historical research has the same status as all background information. The author must know it, even if it does not appear directly in the novel. Otherwise, the characters won't seem like people, and the setting won't seem like a place.

Well?" "Well what?" "Did you tell them about me? Did you put my plans on the table, did you show the board my sketches, the new plotlines and characters, did you show them my storyboards, what did they think of my new idea?

Underpinning it all was the love for the characters, creation and progression.