Quotes About Characters

I like playing these characters who are just on the edge of ridiculous but always grounded in reality. I would never want to come across as a cartoon.

The characters in the book grow up with us. My voice has broken as well.

I think of the biopics I've written as exploring a more grown-up side of myself, through other characters' lives.

When you're a writer, if you're very lucky, you create these characters that you fall in love with, and you feel like they're guiding you rather than you guiding them.

That's what fiction writers do: create characters and do terrible things to them for the entertainment of others. If they feel guilty enough, they write happy endings.

I like characters who are larger-than-life, whether life-loving women or the artist or guru who grabs everything. But I don't live among people like that.

The hallmark of a good comedy is that it can make you laugh, but it can also take you to the point where you're in love with these characters, and you want to see them be happy, and you want to feel that emotion for them.

'Hamlet' is a play of many strange parts, with ghosts and players, politicians and clowns.

Just because we're fictional characters doesn't mean you can pick us up and move us anywhere you want.--the people of Lake Woebegon

Garth on naming characters I spend lots of time on all the names in the books... Sabriel herself, I tried many different combinations of different words, trying to create a new name. In fact, her name comes from trying to combine the heraldic term for black which is Sable, because I wanted something that felt dark and mysterious, with the iel ending that you find in angels' names.

In the theater of the past that is constituted by memory, the stage setting maintains the characters in their dominant roles . . . . And if we want to go beyond history, or even, while remaining in history, detach from our own history the always too contingent history of the persons who have encumbered it, we realize that the calendars of our lives can only be established in its imagery.

Not that I disclaim the fullest responsibility for his opinions and for those of all my characters, pleasant and unpleasant. They are all right from their several points of view; and their points of view are, for the dramatic moment, mine also. This may puzzle the people who believe that there is such a thing as an absolutely right point of view, usually their own.

There are characters which are continually creating collisions and nodes for themselves in dramas which nobody is prepared to act with them. Their susceptibilities will clash against objects that remain innocently quiet.

He was conscious of being irritated by ridiculously small causes, which were half of his own creation. Why was he making any fuss about Mrs. Casaubon? And yet he felt as if something had happened to him with regard to her. There are characters which are continually creating collisions and nodes for themselves in dramas which nobody is prepared to act with them. Their susceptibilities will clash against objects that remain innocently quiet.

And yet he felt as if something had happened to him with regard to her. There are characters which are continually creating collisions and nodes for themselves in dramas which nobody is prepared to act with them. Their susceptibilities will clash against objects that remain innocently quiet.

Public spirit was not held in high esteem at St. Ogg's, and men who busied themselves with political questions were regarded with some suspicion, as dangerous characters; they were usually persons who had little or no business of their own to manage, or, if they had, were likely enough to become insolvent.

With a male-centric show, the women are usually very two-dimensional.

Jane Austen's characters for women are always very strong, opinionated and elegantly written, so they're always great for an actress to have a chance to do.

The buried code of many American films has become: If I kill you, I have won and you have lost. The instinctive ethical code of traditional Hollywood, the code by which characters like James Stewart, John Wayne and Henry Fonda lived, has been lost.

Creating the characters is the most creative part of the novel except for the language itself. There I am, sitting in front of my computer in right-brain mode, typing the things that come to mind - which become the seeds of plot. It's scary, though, because I always wonder: Is it going to be there this time?

I consciously try to end my novels at a point where I won't have to wonder about my characters ever again.

I play very sweet characters, so people look at me like I'm the kid from 'The Wonder Years,' rather than Brad Pitt.

Even when the characters are supposed to be accustomed to the wonder, I try to weave an air of awe and impressiveness corresponding to what the reader should feel. A casual style ruins any serious fantasy.

These characters, they have to evolve. They're getting older on the show, these are things that happen in everyone's life. People do get married... this is just a natural evolution. I wonder if we'll have 'Big Bang' babies in the season finale?