Quotes About Characters

I buy tons of magazines. They're a big part of how I research characters. And I keep them around and go back to them years later. I just have stacks.

I've done tons of guest spots and in parts where the character invariably dies or is dead.

One thing I tend to do is ask actors tons and tons of questions to try to get at what they're thinking but also to expose to them whatever box they've placed their characters in - to blow up that box so the journey can begin.

Many of us grew up with colourful characters such as Tony the Tiger, Coco the Monkey and Ronald McDonald. These figures were designed to market products - from sugary breakfast cereals to hamburgers - to children.

I don't want to know about the lives of other actors and I don't want people to know too much about me. If we don't know about the private lives of other actors, that leaves us as clean slates when it comes to playing characters. That's the point, they can create these other characters and I can believe them.

Interactive storytelling emphasizes a personal connection with the characters. It is a powerful tool that can draw you so deeply into the world of a story that you lose sight of it as a story. You think you are there - at least, if it is done right.

I don't ever want to be gratuitous, for the sake of being gratuitous, but when it serves the stories and the characters, it's nice to be able to do that, realistically and with credibility. You don't want to do it for the sake of it, or shoe-horn it in. But, it's a good tool to have in the toolbox.

The story is a machine for empathy. In contrast to logic or reason, a story is about emotion that gets staged over a sequence of dramatic moments, so you empathize with the characters without really thinking about it too much. It is a really powerful tool for imagining yourself in other people's situations.

One of the greatest tools you have as a songwriter is anonymity. If someone knows too much about the songwriter, they don't get to insert their own characters. I don't want the audience thinking about the gay guy who wrote the song.

Comics shouldn't be 'tools' for anyone's agenda except for the characters. And I am speaking only of super hero action comics. I love many of the alternative comics that are like journalistic stories. Documentary comics, a mix of reportage and fiction. Those are just great.

I think some actors are very smart and have the tools. They know how to disconnect themselves from the characters, but I think for a lot of them, it's very difficult.

If you pick up an eighteenth-century play, at the top it says 'The Argument,' and then you have a list of characters, and then you have the play. I was just always struck by that - that, of course, good drama is about conflict.

All topics, issues, and subjects in 'The Room' add to the depth of the characters in the movie, and they are equally important.

I think, the first time I played Iago at the Public Theater, I realized I had a - much to my chagrin - I realized I had an instinct for these conflicted characters, for these torn characters, for these characters who could be described as evil. I wouldn't describe them that way.

People sometimes seem surprised because often, you know, you know, there's a lot of tortured characters in the stuff I write.

A big part of the fun of working on Superman has been coming up with new characters and concepts to toss in, helping to design their costumes, things like that. And I spent ages coming up with the name 'Fortress of Solidarity,' so I want to get as much use out of it as I can!

You have to be able to toss the thing out. You can't fall in love with your characters, and you have to know when to fight - and when to quit.

And I have to credit David Jacobs with the opportunities he gave me. He was totally into sharing the creation of characters. David put together a show that told the story of people over many years' time and that was greatly enjoyable. Though nowadays that is frowned upon.

Like the vacationer who returns to a beloved summer house year after year, the addicted reader opens book three or four or eleven in a given series and is thoroughly at home in the locale—its by now familiar native characters, the verbal shrubbery and the narrative floorboards that occasionally creak.

Most men have no purpose but to exist, Abraham; to pass quietly through history as minor characters upon a stage they cannot even see. To be the playthings of tyrants.

But, how do you know if an ending is truly good for the characters unless you've traveled with them through every page?

This book is a work of fiction. Names, characters, places, and incidents are the product of the author's imagination or are used fictitiously. Any resemblance to actual events, locales, or persons, living or dead, is coincidental.

don't want you anywhere near this story. It's too dangerous. I don't get why you and the other Narrators don't want this story to be told. Draculaura and Frankie will do whatever they're going to do whether we narrate it or not.

Our first scene is sort of a reunion between the X-Men characters, which establishes everyone's relationship to one another, sort of like a recap for all those who have forgotten since the last movie.