Quotes About Characterization

At the core of misogyny is this paradigm: that men judge women by how they look, their physical beauty and its adornment by dress, while characterising the need to look beautiful as concrete evidence of female triviality.

I find the characters in my head and the more I write about them, the better I get to know them.

I am a variety machine; I look for variety in my characters, and an extra edge in the characterisation helps in bringing out a better performance.

My main agenda as an actor is just to spend time with my characters - I am really glad that the roles being offered to me is very versatile.

I will never forget the pleasure and instruction I derived from working with a true master of his art, such as Edward G. Robinson was - and is. Surely his record for versatility, studied characterization - ranging from modern colloquial to the classics - and artistic integrity is unsurpassed.

I work out the other bits, too, but I need to know what I look like, very early on. And then it's like a template; I'll fill that person out. If I get that out of the way, then I'm all right.

My work is to know the characters intimately and to tell their story.

It is hard work to give life to new characters every single day. It is not as if I am God. I am just a tired, middle-aged woman trying to keep going.

I think I'm very strong at dialogue, I think I'm very strong in characterization. I think sometimes I use dialogue and character work to cover weaknesses in my plotting.

I've always tried to be conscious of how I represent women in my work. They don't have to be good or strong women, but they have to be complex.

What I always studied in screenwriting from my mentor John Glavin was that the most interesting characters are characters with shades of gray.

My favourite book - 'The Good Soldier' by Ford Madox Ford, which I have read about 20 times - is different from my favourite author, who is Iris Murdoch. I find her books exciting and unputdownable. Her characters are so carefully studied and in-depth; I love that.

I felt like people who had a lost mindset or who occasionally did stupid things were having a 'donkey' moment, or some of them are permanent donkeys, so I just started calling them donkeys. So when I went to Philly to do my own morning show, that's when I first started doing 'Donkey of the Day.'

Atanu is one of my favourite directors. His script, style of storytelling and characterisation are always very different.

The acting of the '50s is really stylized, so you're not really getting a lot of authentic, everyday characterization of people.

The six to eight black men were characterized as personal slaves until the mid-1950s, when the political climate changed and it was decided that instead of being slaves they were just good friends.

I've played a lot of people where someone will say, 'This is based on my sister, and such and such happened.' But I don't think I ever played someone who, 'This is their name, and this is their address, and this is what they looked like.'

What I like about 'Paper Girls' in particular is that, because we're approaching it more from a female perspective, we're able to consider the emotional states of these characters a little bit more and think more of their interiority.

It's why you create characters: so you can argue with yourself.

When I'm working on my characters, that's something I pay a lot of attention to: how their body works, how they move, how they articulate.

It would be exciting to write a play, Barbara thought, to see your creations put on the garment of mortality, to hear your words issuing from their mouths. But a play must always be a little disappointing; no actor can completely satisfy an author, and there must be some discrepancy between the author's conception of a character and the actor's expression. This was far better than any play, for the actors were themselves. They couldn't act out of character if they tried,

It's true that all my novels have been versions of myself to some degree.

A lot of my characters are born out of a small grain in a person that I heighten and take to that next level. They're not based on anyone I've ever met, but they are these extreme versions of something.

I think the way to be an influential journalist is to be accurate and to be fair and to get things right and to really characterize things in an honest way, versus being really snarky or cheerleading.