Quotes About Characterization

Whereas Mirabelle is tall, thin and sad, Vesta is physically and emotionally her opposite.

The only time that I've adopted characterization again since that point, for my own albums, has been an album called "Outside" that I did with Brian Eno.

At first I was always cast as the girlfriend. It was a long time before I got to play characters who were people.

I spend a lot of time with my characters.

You can never know enough about your characters.

What do you do in a novel? You take recognizable characters from your own life, and you fantasize about what they're really like.

It's amazing how you get to recreate somebody else's life on-screen. It's wonderful when you get responses like, 'You actually look like him.'

The black characters on TV are the sidekicks, or they're insignificant. You could put all the black sidekicks on one show, and it would be the most boring, one-dimensional show ever. Even look at the black women on 'Community' and 'Parks and Recreation' - they are the archetype of the large black women on television. Snide and sassy.

No matter how heinous someone's behaviour, if you make them a comic character, you can't expect people to hate them.

There are the guys that wear the white hats and they're painting the picture of someone to wear the black hat and they chose me - even though they don't really know me.

I think for anybody reading the book they're going to get an idea in their heads of all those characters, and I think that once that gets fixed, it's quite hard to shake.

I really like getting inside the heads of female characters. I think I can do that well, and I enjoy it.

When people ask me about my dialogue, I say, 'Don't you hear people talking?' That's all I do. I hear a certain type of individual, I decide this is what he should be, whatever it is, and then I hear him. Well, I don't hear anybody that I can't make talk.

I put heavy emphasis on the characters.

I believe the audience likes to see well-defined characters on screen than just larger-than-life heroes.

Anil Kapoor is a star. He reinvented the characterisation of heroism.

The thing about being an actor is that you turn into other people. You have to hide yourself a bit in order to let that other person come out.

The craft of writing is all the stuff that you can learn through school; go to workshops and read books. Learn characterization, plot and dialogue and pacing and word choice and point of view. Then there's also the art of it which is sort of the unknown, the inspiration, the stuff that is noncerebral.

Bad guys are complicated characters. It's always fun to play them. You get away with a lot more. You don't have a heroic code you have to live by.

A lot of time people are like, "oh my God, you're stereotyped." Good, then you're known for something.

Does Jane Austen do her work too remorselessly well? For me, I mean? Maybe that is it. She makes me detest all her people, without reserve. Is that her intention? It is not believable. Then is it her purpose to make the reader detest her people up to the middle of the book and like them in the rest of the chapters? That could be. That would be high art. It would be worth while, too. Some day I will examine the other end of her books and see.

It was so much more comfortable to be able to divide people into heroes and villains and expect them to play their allotted part.

Esta vez, Watson, califíqueme en su relato como de burro completo.

To my way of thinking, whether it's a superhero movie or a romance or a comedy or whatever, the most important thing is you've got to care about the characters. You've got to understand the characters and you've got to be interested. If the characters are interesting, you're half-way home.