Quotes About Characters

My role in 'Legally Blonde' was really rewarding, because I had so much fun working on the movie. I've had really rewarding experiences on tiny low budget films that you'll never see but where I had a cool time creating characters as well. I love almost all of the characters I've played.

'Lost' is about a bunch of people stranded on an island. It's compelling, but kind of tiny. But what sustains you are the characters.

The challenge in writing a show that's about people and their flaws is that it can easily tip over - okay, I'll sometimes watch something, and there will be characters that are written in a way that I'll know that the writer just hates human beings. They're expressing this misanthropic point of view with these detestable characters.

Doing makeup was a way to create characters, only I got tired of doing it for other people.

I get very tired of books that feel emotionally empty. I would much rather have writers err on the side of being overly sentimental than not. I think that the perfect balance is a story that moves you without being maudlin, but I don't enjoy books that are empty of emotion and there's no connection to the characters.

I know it's 'Dear White People,' and you can imprint all kinds of concessions about what the show might be about on the title, but my goal was never to, like, educate white people. My goal was always to create characters that you can relate to and fall in love with.

There's nothing new about women playing pivotal parts or title roles in films. Women in strong characters have always been accepted. It has been this way for years.

After a while, you become really irritated that you're not recognised as the person who wrote 'The Full Monty.' Everyone goes on about how lovely the characters are. That's because they were written! 'What a clever title.' Yeah, that's because I made up the title!

I look forward to playing characters where I want to play the ordinary, to be honest... Farmer's wife, tailor's daughter, the teacher characters that exist for real emotions.

I hate a movie that will end by telling you that the first thing you should do is learn to love yourself. That is so insulting and condescending, and so meaningless. My characters don't learn to love each other or themselves.

In other people's books, I tend to love the really daredevil-y characters. I love Finnick from 'The Hunger Games.' And I think, probably, my favorite character of all time is Sherlock Holmes.

If you write fiction, you have to love your characters. It's like your family. You don't have to like them, but you have to love them.

There's a very strong force in Tolkien's characters.

A great thing is happening on cable TV. You see characters change in stories over years, like in Tolstoy. That's a whole, thrilling new form that I really enjoy. They are Tolstoy-an in their endless character development and narrative changes... a show like 'Breaking Bad' is astonishing.

Every drama requires a cast. The cast may be so huge, as in Leo Tolstoy's 'Anna Karenina,' that the author or editor provides a list of characters to keep them straight. Or it may be an intimate cast of two.

I don't know many women who can relate to Sharon Stone and the kind of movies she does. I don't know a lot of guys who can relate to Tom Cruise's movies because they're on a kind of fantastic level. I like movies I can relate to.

I love Cillian Murphy's character in 'Peaky Blinders' and Tom Hardy's in 'Taboo' - theses are characters that, as audience members, we follow along with and root for. But our own morality is tested throughout that journey, because these characters ride a thin line between morality and amorality.

My friend Isabel says, When you're writing even a short novel, with at least a couple of subplots, and God only knows how many characters, your brain holds the volume of it beyond the ability of your consciousness. Of course .

In the morning I wake amid fading scenes of different characters, different settings, all restatements of that first desire, a ghost who haunts me as the beauty he was at sixteen.

In fiction, characters could punch their bosses and get away with it. In real life, you lost your job, and then you were dining on Cup-a-Soup seven nights a week instead of four.

Put the bad poetry in the mouths of outlandish characters. It might make bad poetry funny instead of sad.

Good fiction often gives us characters in extremity, which ironically gives us a clearer mirror in which to see ourselves.

I'm not beholden to the confirmation of your prejudices; to be perfectly frank, the prospect of confining the female characters in my story to placid, helpless secondary places in the narrative is so goddamn boring that I would rather not write at all.

Certainly, de Grandin was not the first occult detective—Algernon Blackwood's John Silence, Hodgson's Thomas Carnacki, and Sax Rohmer's Moris Klaw preceded him—nor was he the last, as Wellman's John Thunstone, Margery Lawrence's Miles Pennoyer, and Joseph Payne Brennan's Lucius Leffing all either overlapped with the end of de Grandin's run or followed him.