Quotes About Characters

We've carried that over into the visual development as well. We've designed quite an exotic cast of characters, but the last thing we want is to dictate to the players how their PCs should look. What we want to do is inspire.

Film is much more visual, a scene is typically a lot shorter, you're dealing with a lot more characters, a lot more locations, and you're able to rely on things that you just can never do on the stage.

When I'm creating characters, I definitely think of theme songs. Writing for me is very visual, so I sometimes think of it in terms of a movie with a soundtrack, and try to transfer that to words.

I'm a very visual thinker, so the characters are running through my head, doing what they're doing when I'm writing them. And there'll be moments where I'll just kind of throw a look off to the side as if I'm talking to one of the characters. It's always been something that I've had with me since I was a little kid.

There are people who've told me cinema is a visual medium and you don't need to say so much. When I write the script, all these lines of what the characters are thinking are written. Once the film is shot and the lines are dubbed, I tone it down in postproduction if I feel it gets heavy.

I learned just recently, in fact, that a lot of people who read do not form a visual image from what they're reading. They just don't. They follow the events and get the resonance with the language, but they have only a vague, general idea of what the characters look like.

To me, most filmmaking is a kind of visualization of how people are. The dark, the light, the absurdity of life, all the crazy things, you know? So all of the characters that I've made have been really close to my heart. I guess what I'm interested in is just visualizing a really three-dimensional picture of a person.

You know it's my job to visualize, what is literal or audible, so I designed all the characters, and I designed what they do and how they should do it and so on.

The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.

It's about the characters, it's about the film, it's about the process of making stunning visuals and a huge, epic movie. It doesn't matter if my head was covered in a black plastic bag and I was bouncing around in a space hopper: That's the villain of Chris Nolan's 'Batman!'

You put books out into the world, and people form their own visuals and images and attachments to characters; those characters become part of them, and they have their feelings about them.

I love coming up with the stories and being creative and working with creative people and coming up with visuals and creating characters.

When I begin a book, I inevitably discover many things along the way, about the characters, their past histories and the political intrigues that surround them. This discovery process is vital, and I would not prejudice it by deciding too much in advance.

We set ourselves a limit and cut characters which weren't so vital.

As for most writers, language is vital for me: a writer's ability to render a fictional world - characters, landscape, emotions - into something original that alters or deepens my understanding of both literature and life.

The interesting thing about fiction from a writer's standpoint is that the characters come to life within you. And yet who are they and where are they? They seem to have as much or more vitality and complexity as the people around you.

Like any other composer of opera, I choose a subject not for polemical reasons, but because it contains vivid characters in highly charged dramatic situations.

If a novelist has created vivid characters, interesting relationships, settings the reader can easily imagine, and intriguing stories, a screenwriter has loads to work with. The challenge comes with deciding what to cut and what to keep.

'Push' had a story, 'The Paperboy' story you could just throw up in the air and shoot holes through the book because the story wasn't as strong. But I felt the characters were stronger in 'The Paperboy'; they were vivid.

One of my goals is to allow readers to see my characters and the world they inhabit as vividly as possible.

I express things through characters because I have a fear that my own voice is irritating because that's been said to me.

The fact is that at different stages of your life, and under the influence of different inspirations, you write different things. The point is not necessarily to find your voice, which grinds out the same sort of thing again and again, but to find a vehicle for people who are far more important than the author: the characters.

I went to drama school in England, and you spend your first year working on the muscles surrounding the vocal mechanisms. You learn how you support it and create characters through your voice so that became an obsession. So I went to Hollywood thinking, 'Oh, I'm going to be one of the great voice-over artists.'

My dad had such a cool job. When you're a voiceover actor, it's a whole different skill - you're bringing these huge, larger-than-life monsters and characters to life. And, also, you have to learn accents.