Quotes About Characters

I just always play these really extreme characters - they've all come with parental guidance stickers on them.

The stories in 'Parenthood' are so much the stories of our lives. And the people who have worked on the show feel very connected to these characters.

I think that being a parent has expanded my writing, expanded my understanding of my characters, and has added a depth and richness to my work. Having kids deepened my idea of parenting and all the anxieties that come along with it.

You know, 'Jurassic Park' is a film I always go back to a lot - it's a fantastical world, but I care about all the characters in that situation, and then I think in caring about them, it can make it relatable and help me kind of see this heightened world through, not always familiar eyes, but at least eyes I can understand.

I live a dramatic life and love the characters that are constantly changing in their lives. For that reason, if I have an opportunity, I would like to participate in the musical 'Hedwig.'

Actually the copies of characters is something I don't particularly like to talk about in articles but just for your information, most characters there's only one.

I've sort of dealt with the characters' lives more; particularly the women characters.

I think the success of 'Downton' is partly because there are effectively 18 leading characters, all given equal importance, so it's enormously involving on many levels. But also, it's a new story. It's not like Dickens or Austen, where everyone knows the denouement.

You know when you watch old movies, it's always the small parts you remember, the character actors who come in like a breath of fresh air.

I don't play long parts. They must be short parts, but they've got to be parts that mean something, that matter, where people will notice when I'm on the screen, and people will remember the character after they've seen the film.

I've played so many different parts in the last 40 years.

My process is pretty messy, and there's a lot of creative destruction in it. When I set out to write something, I'll write some passages from it just to figure out who these characters are, how they talk. And I have a dim sense of what it's about and where it's going to go, but I know that's going to change, too.

There are characters in movies who I call 'film characters.' They don't exist in real life. They exist to play out a scenario. They can be in fantastic films, but they are not real characters what happens to them is not lifelike.

Even though more and more of his stories, as he went on, are set in autumn, one of the main occupations of his characters is to see how far they've come, or fallen rather, since the spring. Yet insofar as spring—youth—is visible, there's always the possibility of vicarious renewal or hopefulness, and the mixed feelings of seeing someone else's perhaps too-innocent illusions.

A great number of elements in the characters' lives, both psychic and factual, are not communicated to us. […] These characters, I believe, enjoy a much greater autonomy than we usually think, and are able to take initiatives unknown both to the writer and the reader. When characters have their own will, their own autonomy, it gives the literary universe a greater internal mobility; it also makes the texts through which we view this world all the more open and incomplete.

Fictional characters exert a great deal of influence over our choices in love by representing inaccessible ideals to which we try to make others conform, usually without success. But more subtly, too, the books we love offer a sketch of a whole universe that we secretly inhabit, and in which we desire the other person to assume a role.

I enjoy receiving and giving realistic fiction, for both children and adults, with strong characters, beautiful language, and humane visions.

The only thing that I discovered very early on is that, even though we might change schools and cities and towns and states, the books in the library were the same. They had the same covers. They had the same characters. I could go and visit those people in the library as if I knew them.

The main characters for 'The Seer and the Sword' made an appearance one night and then haunted me for over five years before I began to write them down. Does that count as inspiration? For me, characters tend to show up, stay on to help with the work of writing their stories, and then occasionally deign to visit after a book is finished.

I didn't realise my upbringing was unusual until my teens. As the child of two actors, I presumed that visiting film sets and being surrounded by colourful characters was normal.

For me and my films, I want my audience to experience cinema in its full glory. It's not just visual, it's audio as well. It's emotional, and I want you to be engaged with not just the scene but with the characters.

I like looking at the characters. Seeing them always brings up some voice or attitude. I am much more visual, and that works so much better than having someone tell me what the character is all about.

It's certainly a cliche to remark that a nonfiction book 'reads just like a novel,' but in the case of Jonathan Eig's 'The Birth of the Pill,' I have no other recourse, since his narrative is full of larger-than-life characters sharply limned and embarked on fascinating doings, their story told in sprightly visual fashion.

I think almost always that what gets me going with a story is the atmosphere, the visual imagery, and then I people it with characters, not the other way around.