Quotes About Characters

I don't require movies to be about good people, and I don't reject screen violence.

I like video games, but they are very violent. I want to create a video game in which you have to help all the characters who have died in the other games. 'Hey, man, what are you playing?' 'Super Busy Hospital. Could you leave me alone? I'm performing surgery! This guy got shot in the head, like, 27 times!'

When I wrote 'East,' I wanted a completely earthy, very sexy, very violent play, so I wrote in verse. I found it not only satisfying but releasing. It gave me an opportunity to play with language. We never played the characters like the yobs that they are, but rather in a slightly heightened way.

Apart from 'VIP' being a blockbuster movie, the various characters such as mine, the Luna bike I use in the movie, the lovable amma and appa, a pet dog named Harry Potter, the innocent brother, etc., had a huge reach among the audiences.

Thanos is undoubtedly the most powerful entity and villain the world has ever seen - he is virtually indestructible. Imagine a villain so menacing that all the Avengers, Guardians of the Galaxy, and their allies have to come together in a hope to defeat this one guy; such characters come to you once in a lifetime!

The characters you refer to as predatory and unsavory are useful. They're the ones who make a novel into a thriller. They're active, and most of the common virtues, the signs of a good person, are not.

I'm always going with my visceral reaction when I read a script. I am more drawn to characters who are conflicted, and in developing a character exploration. If it's a baddie, I'm rarely intrigued, and if it's a goody two-shoes - too much of a good guy - I'm not, either.

I had a strong visceral reaction to the 'Moonlight' script, partly because I felt I knew all of these characters.

Storytelling is ultimately a creative act of pattern recognition. Through characters, plot and setting, a writer creates places where previously invisible truths become visible. Or the storyteller posits a series of dots that the reader can connect.

I don't always set stories in villages, more often in towns. But always in smallish communities because the characters' actions are more visible there, and the dramatic tension is heightened.

I approach film no differently than I approach a role. I want to make sure the movie is right, the characters are right, I can really bring something to it as a visionary, a storyteller. It's great to point a camera, but can you tell a story?

One of the nice things about books as opposed to television and movies to some extent is it's not a passive entertainment. People really do get involved, and they do create, and they do have their own visions of what different characters look like and what should happen. It's great - it means their brains are working.

The books. So many books. She adored reading. It introduced her to characters, took her to places where she was never lonely.

The best morals kids get from any book is just the capacity to empathize with other people, to care about the characters and their feelings. So you don't have to write a preachy book to do that. You just have to make it a fun book with characters they care about, and they will become better people as a result.

Regarding Notre Dame cathedral: "He could see the huge rose window that had, incredibly, survived the fire. It looked, behind the works, like a giant third eye. Gazing perpetually out at the City of Light and its citizens, while also gazing inward, at their motivations, their characters, their hearts and souls.

I have no control over certain elements of my story. I can nudge my characters/story line there, but can't make them behave the way I think they should, no matter how I try.

Every writer is the amanuensis to their characters

Ferdinand took up some books: he found them to contain strange unintelligible characters, circles and lines, with many curious plates; and from the little he could read, they seemed to be works on alchemy; he was aware already that the old man had the reputation of a gold-maker. A lute was lying on the table, singularly overlaid with mother-of-pearl, and coloured wood; and representing birds and flowers in very splendid forms.

What if the characters in a book had lives of their own after the cover was closed?

I see God now as an unimaginative writer of popular fictions, someone who builds stories around sadistic and graceless plots, narratives that exist only to express His terror of a woman's power to choose who and how to love, to redefine love as she sees fit, not as God thinks it ought to be. The author is unworthy of His own characters.

Fictional characters are made of words, not flesh; they do not have free will, they do not exercise volition. They are easily born, and as easily killed off.

Family life is full of major and minor crises -- the ups and downs of health, success and failure in career, marriage, and divorce -- and all kinds of characters. It is tied to places and events and histories. With all of these felt details, life etches itself into memory and personality. It's difficult to imagine anything more nourishing to the soul

I'm not comfortable being around too many people. I don't like being out in public too much. I don't like going to bars. I don't like doing celebrity stuff. So most of the characters I play are people who don't always feel comfortable beyond their small circle of friends.

The thing that cracks me up is how these reality characters start out thrilled and excited just to be on television, and how they move to thinking they are as big as the Friends.