Quotes About Characters

It is necessary to the success of flattery, that it be accommodated to particular circumstances or characters, and enter the heart on that side where the passions are ready to receive it.

I saw what luck and success I had as an opportunity to twist it up and do something different, so I've always sought out different genres and different kinds of characters.

For the traveler we see leaning on his neighbor is an honest and well-meaning man and full of melancholy, like those Chekhov characters so laden with virtues that they never know success in life.

Crear personajes que matan a los de los historiadores es privilegio de los novelistas, El motivo es que los historiadores evocan a simples fantasmas, mientras que los novelistas crean a personas de carne y hueso.

Really, the novelist has the best casting since he doesn't have to cope with the actors and all the rest. -Alfred Hitchcock

I think of life as a book of stories, he goes on. You move through the stories and the characters change.

for the clown himself imitated the serious characters

WRATH, n. Anger of a superior quality and degree, appropriate to exalted characters and momentous occasions; as, the wrath of God, the day of wrath, etc. Amongst the ancients the wrath of kings was deemed sacred, for it could usually command the agency of some god for its fit manifestation, as could also that of a priest.

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. The devil is first a literary critic, who delivers this untalented scribbler the public flaying He deserves.

The author is unworthy of His own characters. The devil is first a literary critic, who delivers this untalented scribbler the public flaying He deserves.

I've never really understood that. It's a funny thing people sometimes accuse us of condescending to our characters somehow-that to me is kind of inexplicable.

The policy of prohibition summoned these characters into existence, because it needs them. So long as it lives, they live.

Our life is a book that writes itself and whose principal themes sometimes escape us. We are like characters in a novel who do not always understand what the author wants of them.

All the people in Star Trek will always be known as those characters. And what characters to have attached to your name in life! The show is such a phenomenon all over the world.

I haven't personally in my real life had many people close to me die, but my characters have, and I've had to live that as though it's real. And it can take a really big emotional toll on someone.

That's true, you don't want to let anybody down and here are millions of people who've been waiting for their favorite characters to be brought to life and you don't want to disappoint.

The unknown characters of writing seem to be endowed with an evil of life of their own as though sentient, and fain would wrest themselves forth from the parchment and wreak mischief on whomsoever gazes upon them.

I do not invent characters. There they are. That's who they are. That's their nature. They talk and they behave the way they want to behave. I don't have a character behaving one way, then a point comes in the play where the person has to either stay or leave. If I had it plotted that the person leaves, then the person leaves. If that's what the person wants to do. I let the person do what the person wants or has to do at the time of the event.

Marvel and DC comics dealt with fantastical characters but at least they sent them on recognisable journeys, providing them with origin stories, personal tragedies (the villain Magneto was revealed to be a Holocaust survivor), love affairs, psychological issues, political awakenings and all the rest of it.

I want to do a lot of different characters - definitely not always the same kind of character. I love that life provides so many choices, and I want to be able to experience that.

What's most important is to create an atmosphere that's real, providing characters the audience can root for. Once they become emotionally attached, that's the secret in building a show. The audience can see themselves in these characters, and they respond to the stories.

When I wrote about the French Revolution, I didn't choose to write about aristocrats; I chose characters who began their lives in provincial obscurity.

I like the way that psychological extremity can illuminate more 'normal' characters by forcing a comparison.

'The Oath' seems like the perfect project for me, coming off the back of a big-scale adventure film like 'Everest.' I want to delve into an intimate, dark and psychological world where the characters are claustrophobic.