Quotes About Characters

I'm not a really big comic book person. I know the typical ones - 'Spider-Man' and 'Wonder Woman' and 'Storm' and that stuff. But don't quiz me, because I'm not good at things like that.

I usually dislike second books in series. The only second installment I ever loved was 'The Empire Strikes Back,' and I think that was wonderful because it evolved the characters while not seeming like a bridge.

We believe that either our own teams or teams that we direct are best capable of creating 'Mario' games that will live up to the franchise. The same is true for 'Metroid' and 'Zelda' and all those wonderful properties. For us, we want to control those characters as a key corporate equity.

There's something rare and wonderful that's very particular to television, and it's when a great cast meets a great show runner/creator with the right set of characters to play. That's what happened with 'Arrested Development.' It happens every so often, but all too rarely on TV.

I'm very excited to see the wonderful 2-D characters in Poptropica come to life in the form of 3-D toys. When I first held the characters in my hands, it felt like magic. I'm excited for kids to have the same feeling!

We were all such odd characters, even though we were a really functional family, in a way, as eccentric and crazy as we were. And it was such a wonderful feeling amongst us of being a family almost. We were 'The Addams Family!'

I like the sensibility of Australian film a lot and the crews are fantastic. Great characters, wonderful people and no line between - I think in Hollywood they have this line between actors and crew a lot, and that just didn't exist, which I really appreciated.

It is a wonderful thing in the process of writing when such paper characters are first sketched, and, when one is doing good work, from a certain point in time they come alive and start contradicting the author as well.

What people forget is that I'm an actress. That's the wonderful thing about what I do. I get to play different roles.

Shakespeare was the thing that started me off on that train, you know, and every one of his plays. There are so many different characters, and the wonderful thing about being in an all-girls school was I got to play them all, you know. So I got to play Mercutio and Oberon and Malvolio - it was great.

I'm mostly interested in characters and how they manifest themselves in their relationships. I'm delighted that people relate to the characters in 'Bojack,' and hopefully they will too to the characters in 'Undone.' If they understand themselves or feel seen in a new way, I think that's a wonderful thing.

Plays are wonderfully different than short stories, first because it's a story that's on a stage, but there's a different sort of tension that appears on stage - you get to see your characters in a different way - like with lights.

The whole novelty and challenge of playing twins is something that has kept things wonderfully fresh for me. Just the pure joy and freedom of being able to explore so many facets of not just one, but two, different characters at once is a very singular experience.

For an author, the nice characters aren't much fun. What you want are the screwed up characters. You know, the characters that are constantly wondering if what they are doing is the right thing, characters that are not only screwed up but are self-tapping screws. They're doing it for themselves.

Characterisation is more important to me than the script. A decent story and extraordinary characters can do wonders for a film, but you cannot do it the other way around.

Winnie the Pooh and his friends from the Hundred Acre Wood are among the most entertaining and beloved characters ever animated by Disney.

The first pages of any book I remember reading, in Pinner Wood primary school, were from The Beacon Readers: stories of Farmer Giles, Rover the Dog, Old Lob the shepherd and Mrs Cuddy the Cow. I was very fond of Mrs Cuddy.

The great mystery is why robots come off so well in science-fiction films when the human characters are often so astoundingly wooden.

I remember talking to Xavier Woods about so many things and vignettes and backstages and these stories we could do between our crazy weird characters and their insane, obviously fun loving characters and all this stuff.

A lot of my comic influences are distinctly American: Woody Allen and Bob Hope, for example. They were always the underdogs who were using wit to sort of battle their way through. And it seems to me that a lot of contemporary U.S. comedies are shot through with losers. None of the characters in 'The Big Bang Theory,' for instance, are studs.

'Pigeonholed' isn't the right word, because I feel like I've had a very wide range of characters that I've been allowed to play.

Impressions are still kind of hard for me and not what I love to do the most, but with characters, I think there's an element of fearlessness. You try to figure out the best reading and wording of the jokes before the show, and then you just really have to go hard.

I think to really be literate in nu shu you only need about 600 characters because it is phonetic. So you're able to then create many words out of one character.

I don't want to spoil the magic, but it's a very curious thing that honestly baffles me. It's the nearest we'll ever get to playing God, to suddenly produce these fully formed creatures. It is a bit odd. Other aspects you work out more - you rework sentences, you rework imagery. But not characters.