Quotes About Characters

I actually didn't grow up watching 'Degrassi,' but I saw the commercials and knew the characters. I didn't realize that Drake was the guy from 'Degrassi.' I had to piece it together and go, 'Oh! He's Aubrey Graham.'

I hate it when you are watching a movie where the characters are on the news, and for some reason they shoot it with a 35mm camera or a 4K camera, and they just put it on the TV as if that's the way it would look - it always takes me out of it by putting a filter on certain things. If it's too high quality, you're never gonna buy it.

I've often been accused of, 'Oh the movies looked good but there's no story,' but I disagree with that in theory, and '9' is a perfect example for me because the feel, the texture, and the look of that world, and those characters, is the story. That's a major component of why you feel the way you do when you're watching it.

Watergate is an immensely complicated scandal with a cast of characters as varied as a Tolstoy novel.

As I've grown as a creator, I feel that I want to tread in deeper waters and have a lot more going on emotionally with the characters. That's my appreciation for comics as a creator and a consumer as well. I'm more into stories that don't just bounce off the surface but go a little bit deeper.

You know for years before the notion of sequels, actors were the franchise. John Wayne would rarely do sequels, but he kind of played the same guy with a different name in every movie. I have no problem with using actors as franchises. And that's what is fun to do.

People say that Rooney could have been like Lionel Messi, a more prolific goalscorer who dribbles past opponents more. But they are different characters. You will never see Messi snapping around the heels of an opponent to win the ball back deep in his own half. Wayne does that all the time, and sometimes that enthusiasm will count against him.

I'm really into, like, characters - music characters like Sid Vicious and Kurt Cobain - just, like, how they are and stuff. Like Lil Wayne.

People were always saying, 'are you going to do a film of any of the characters in the TV show.' The only ones that were appropriate were Kevin and Perry. There's a precedent with 'Wayne's World' and the 'Bill And Ted' films.

One of my favorite things, coming of age, reading comics, was these ideologies and these philosophies of these characters. Seeing those on the page really represented in amazing ways some of my favorite 'Batman' comics like 'The Killing Joke' or 'The Dark Knight Returns.'

I was attracted to the comics because of the characters and, particularly, Wolverine because he is so complex. He is so damaged and tragic in many ways - he doesn't have his memory. His body was invaded. He has unrequited love for Jean Grey.

The joy of great fiction is that it transports the reader to another world, where new characters live in otherwise unimaginable ways. It is one of the most powerful ways of generating empathy that I know.

We had to tell a hero's story, and the minute you have too many characters, it will take too much time in a two-hour film. We cannot do justice to each and every character.

There should be characters and situations that we cannot identify with, that retain either too much horror or too much wonder to allow for simple identification. That feels to me like an accurate depiction of what it is like to be in the world, rather than a neutered register of continual empathy.

'The Sopranos' gets praised as novelistic, but it follows the most banal of life patterns, showing the sheer tedium of being a mobster. It has dead spots, boring plotlines, weak episodes. Characters develop slowly, or don't. Like viewers, a gangster might get bored, fade out of the action, then come back to find none of his debts forgotten.

As a genre, the noir of post-World War II was based on characters who were weak or repellent, bound to let down us and themselves.

I usually played comic lovers or losers - weak, ineffectual men.

'Lord of the Rings' was a set of books in which the world had been conceived before the characters were placed within that context.

I always look for good stories and good characters, and if they're placed in a whodunit, then I'm interested.

You decide which characters you want and then do the best you can to bring their humanity to the forefront in the context that you place them in - the crises in which you've placed them.

The important thing for me when I look at characters is to consider the kind of constraints placed upon them. Now, me personally, I don't like to have a lot of constraints placed upon me.

I have things planned for every character like what they're doing down the road and coming to different realizations but I don't have how they overlap.

For 'Inhuman,' it's a 'chess game' series. You have a lot of pieces moving different ways at once, and it's about what they do on their own and what happens when they collide into one another. It's about long-range planning, new character creation, and trying to really build things.

I love Huma Qureshi. She was amazing in 'Gangs Of Wasseypur.' I also love Richa Chaddha. She played a mother in 'Gangs Of Wasseypur.' And then I saw 'Fukrey' where she played a gangster, and I couldn't believe it was the same girl.