Quotes About Characters

I understand why creative people like dark, but American audiences don't like dark. They like story. They do not respond to nervous breakdowns and unhappy episodes that lead nowhere. They like their characters to be a part of the action. They like strength, not weakness, a chance to work out any dilemma.

I become my characters, and then try to allow events in the story to take their own course. I try not to play God, but to let them work out their own destiny.

'Rocky' is a movie that just happens to be about boxing. It's really about characters and story lines and relationships and all those things, and the backdrop is boxing. You can go back and watch the final fight in 'Rocky' a thousand times. If you dig that movie, if you like the characters, you'll watch the whole movie over and over.

I like to cast actors I admire, one's that are talented. Each one will bring something new to the part. This play has been done thousands of times and now certain characters are too familiar.

No novel is a clone of any preceding one, though with a background cast of characters and things that has grown to thousands, there are many familiar aspects.

It was really fun to start writing movies because you could actually take characters whose voice you enjoy writing in and have actual things happen to them for more than five minutes. It was really fun to thread it together.

Everyone seems agreed that writing about sex is perilous, partly because it threatens to swamp highly individualised characters in a generic, featureless activity (much like coffee-cup dialogue, during which everyone sounds the same), and partly because it feels... tacky.

I'm a huge Elizabeth Berg fan. Her novels are always charming, thoughtful, and filled with lively, three-dimensional characters.

In my theater work, I've had much more three-dimensional, broader-stroke characters.

You can make bad writing 'OK,' but... you really need to start with a good script and with characters that are three-dimensional and with great dialogue. It's a difficult lesson to learn because good writing is hard to come by, but it's definitely worth chasing.

It's important for people of colour to have the opportunities to play characters that are as nuanced - as three-dimensional, as human - as the characters who we traditionally see getting to play the protagonist. The good guys and the bad guys. The reason that is important is because it's a better reflection of the reality of the world we live in.

Let's be real: more often than not, Hollywood does not have three-dimensional characters for women to play.

TV is designed to keep characters in place for years on end. The best example is 'M*A*S*H:' You have a three-year police action in Korea, and they stretched that out to eleven seasons. It was a great show, but when you think about it, a weird unreality overtakes a television series. You see the actors age, and yet the characters don't.

I search for thrill in my characters because I am a boring person.'

There are fantastic stories yet to be told featuring Marvel's characters, old and new, and I'm thrilled to be part of them.

When I sit down to write a scene, I have a plan in mind, and I'm thrilled when a character disregards my goals and takes the story to a place I hadn't imagined.

'Deity' will be a compelling and exciting thriller with complex and interesting characters. A neo-realistic style to story and images will take the audience deep into Calcutta's many different levels. A fascinating clash between American and Indian culture.

The danger of writing a so-called thriller is that in your last 100 pages, all of these really interesting characters you've created are just running away from something or toward something, but they're no longer capable of innovation or discovery.

I'm extremely excited about working with Troika on 'The Hive.' This script has two elements I always look for in a thriller - strong, believable female characters and a smart, very dark and very creepy story that will definitely resonate with large audiences.

'Ralph's Party' was supposed to be a psychological thriller, but I fell in love with all my characters and wanted only the best for them.

Thrillers have been traditionally very masculine books; the women characters often rather decorative.

Why has Scandinavia been producing such good thrillers? Maybe because their filmmakers can't afford millions for CGI and must rely on cheaper elements like, you know, stories and characters.

With thrillers, I tend to concentrate on the research and pace more than the characters.

I've always been incredibly crazy about the fact that I'd have any fans at all. It says to me that the characters that I choose are interesting to people and that's thrilling to me. It really is.