Quotes About Characters

'Line Of Duty,' for dramatic purposes, tends to create characters whose corruption is balanced on certain ethical conflicts, whereas the majority of corruption in the real world is simply based on greed.

Wherever I go in the world, people all know about Scotland Street and are always asking me about what's going to happen to the characters next.

I'm a fan of characters wherever they come from. Truth be told, I wasn't a big comic book fan growing up. Maybe that helps me bring a fresh perspective to things because I'm not trying to match anything that's been done in the past.

Wherever a writer grew up, they're obviously influenced by that area, and I'm sure their characters are pulled from those experiences.

A director is the captain of the ship; he gets the vision of the film much before anyone else can. While I want to experiment with characters, I know a good director means I am in safe hands.

While 'Visitation Street' has the markings of a traditional whodunnit mystery - starting with a missing girl, intrigue and many suspicious characters - Pochoda shows her hand early on by fingering a culprit. The book turns, then, into a 'whydunnit.'

'The Cauliflower' is full of these bizarre anecdotes, some of them petty, others moving or whimsical, as its many characters try to make sense of the universe in which they live - a universe strange, febrile, and utterly unique.

As a writer, my main objective is to tell the story urgently - as if whispering it into one ear - and to know the characters intimately.

It's like these ideas, these characters, kind of bubble up inside me, and one day they're not there, and the next day they are there. They're alive, and they're whispering in my head and all that stuff, and I want to write about those things.

I like characters that are complex. I don't like people who are simple to play and are either black or white.

All this primal energy people respond to in me and my characters is in my music, 10 times more.

A great novel is concerned primarily with the interior lives of its characters as they respond to the inconvenient narratives that fate imposes on them. Movie adaptations of these monumental fictions often fail because they become mere exercises in interior decoration.

I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are.

Any composer should be able to synthesize the primary feelings that the characters are going through in the movie.

University characters are prime for parody, you know - the self-entitled rich kids to the self-important protestors to the international students.

Since I got into the movies, 'Running Scared,' that did $40 million. 'Princess Bride,' I got good reviews for the character Miracle Max. 'Memories of Me' didn't do well. 'Throw Mama from the Train' did $70 million. 'Harry and Sally' did 95 or 96. 'City Slickers' did $120 million.

I'm a big fan of Tarantino's work, and I think I'm fascinated by his evident sense of entitlement to use black characters and black material that he feels not simply comfortable with, but that it's his right and privilege - the apparent ease with which he handles black characters, fully aware that he's been criticized for that, too.

I'm blessed and proud and privileged to have played two wonderful characters on television.

I think, for an actor, the whole world is a place of work because if you focus on characters and on stories, they are everywhere, so yeah, I feel very privileged to have had this great opportunities in the international cinema and especially in the American cinema.

'Pitch Perfect 2' is about the Bellas and what happens to them as they get older. All your favorite characters are coming back. Chrissie Fit was great, and Hailee Steinfeld is such a pro - she fit right in. I had no idea she was 17! She's the most mature girl ever.

I created lots of characters in high school and college, and the first character I created in pro comics was Liana, Green Lantern of M'Elu, for a backup story in 'Green Lantern #162,' my first professional sale.

I will always find a defense for characters, and that's why it's fun playing characters that are morally ambiguous, or are at least perceived superficially as being problematic.

What I have in advance are people I want to write about and a problem or problems that I see those people encountering and that I want to explore - it all proceeds sentence by sentence, paragraph by paragraph, and scene by scene.

The great thing about the animation process is that is goes from, I write the lines, it goes to the actors, the actors bring a whole world to that, they bring the characters to life, then it goes to the animators, then it goes to the editor who cuts it together, and then you screen it and it goes back through the system again.