Quotes About Characterization

I empty myself out and fill myself with the character. I would play a devil worshipper, and I would fill myself up with whatever devil worshippers believe. Then, as myself, I empty that out and become Nelsan.

When we don't have all the details about our characters, we have to make it up to fill in all the details. So, for me, writing and acting go hand in hand.

I can always tell when a filmmaker doesn't care about his or her characters; they just care about setting them up to kill them off.

I try not to put pressure on filmmakers to come up with a big scare at the beginning. I think that helps let the audience settle in and get to know the people they're about to spend 90 minutes with. Once the scarier stuff happens, it's scarier because of that.

A lot of people go in and have to create their own characters, and they do fine with it.

My first job is to write the characters as full and authentic people as well as I can.

I like to play a wide range of characters. The more they're unlike me, the better I like it.

I think my wife would take objection to any characterization of me as perfect.

I love those preliminary conversations about who a character is. You try on wigs, shoes, and clothes. It's preferable when it's not about looking pretty. It can get a little dull to just be cute.

All characters come from people I know, but after the initial inspiration, I tend to modify the characters so they fit with the story.

I think there's been a tendency to place me in what has been characterised as the 'moral centre' of the film. In films like 'The Ice Storm' and 'The Crucible' and 'Nixon,' that's the sort of the persona that emerged.

When I began writing novels, I read Aristotle to learn how to perfect structure, Pearl Cleage to sustain tension, and Nora Roberts for characterization.

Well,the fun part of being a writer is that it's like making a wonderful film, with no limit on my budget. I can design the sets, the costume, the lightings, I write the script, and then I get to perform all the roles as I step into each character's skin, zip up, and adopt that point of view. So, to me, they are all compelling and fascinating.

I was already becoming a woman who sized up another one fast—I was becoming typical.

If Jo is a tomboy and Amy a goose, what

Meg, as the eldest, was Samuel Pickwick, Jo, being of a literary turn, Augustus Snodgrass, Beth, because she was round and rosy, Tracy Tupman, and Amy, who was always trying to do what she couldn't, was Nathaniel Winkle.

a face so broad and ruddy that he was dubbed "Bacon Face.

Most of my favorite stories as a reader come in at this length. Short novels are all killer, no filler. They offer the economy of the short story but the depth of characterization we associate with longer works. Little novels aren't leisurely, meandering journeys. They're drag races. You put the pedal to the floor and run your narrative right off the edge of the cliff. Live fast and leave a pretty corpse is a shitty objective for a human being but a pretty good plan for a story.

I'm hopefully making the reader feel a lot about the characters and then about their own life.

You treat characters like people you meet in life-friends or mentors.

Well, we all have our specialties, Harold." For example, you are a wanking accountant.

Holmes is depressed. Poirot is vain. Miss Marple is brusque and eccentric. They don't have to be attractive. Look at Nero Wolfe who was so fat that he couldn't even leave his New York home and had to have a custom-made chair to support his weight!

Literature has become too psychological.

There are no black and white, good or bad characters in 'Game Of Thrones,' but Joffrey was an exception. Just pure evil.