Character Quotes - Page 164

I want to do my Blade Runner, which is like a future Berlin film, which is like a thriller, but it's much deeper characters, I think.

The American Civil War produced carnage that has often been thought reserved for the combination of technological proficiency and inhumanity characteristic of a later time.

The last time anybody made a list of the top hundred character attributes of New Yorkers, common sense snuck in at number 79.

The Christian faith is the most exciting drama that ever staggered the imagination of man-and the dogma is the drama ... The plot pivots upon a single character, and the whole action is the answer to a single central problem: 'What think ye of Christ?'... He was emphatically not a dull m an in his human lifetime, and if he was God, there can be nothing dull about God either.

I like to stay within the context of the character's background. If he's a cop, I have to make sure the audience is convinced that this person, a cop, can do only so much without a gun.

I thought, "Oh, my god, that's what happens every time I talk with a journalist in the middle of shooting and I talk about my character. I describe him, I objectify him, and I kill him." So, I've never spoken with a journalist in the middle of a film. I don't do the EPK until the very end of a film. I can't talk about Kiefer's process, but what he brings to the table is beautiful.

If the point of life is the same as the point of a story, the point of life is character transformation.

So much of the writing is not conscious, in the sense that it's not calculated. I remember in film school we had so many studies with big fancy words where you could dissect a movie and make charts of all of the characters' complicated inner relations and themes and what does this mean? And it's overwhelming as a student. It's great for a student, but as a writer, it's paralyzing.

But some characters in books are really real--Jane Austen's are; and I know those five Bennets at the opening of Pride and Prejudice, simply waiting to raven the young men at Netherfield Park, are not giving one thought to the real facts of marriage.

The story drove the book. That had a very seminal effect on the way I saw writing and storytelling. If you can set a character in a story that is compelling and has a backbone, you draw people in.

Nothing more guarantees the erosion of character than getting something for nothing. In the liberal welfare state, one develops an entitlement mentality. And the rhetoric of liberalism - labeling each new entitlement a 'right reinforces this sense of entitlement.' -

Greatness is a quality of character and is not the result of circumstances.

I think it would be self-indulgent to go, "Oh, I'm going to make this character different by giving him a quirk of some kind." I don't think that serves the story, particularly. But even very similar scenes with a different set of actors, a different set of circumstances, it starts to evolve as a different character.

I love playing real people. It's a huge challenge and responsibility which I take on board and which I relish. It also scares me to death. Give me a totally fictional character and I don't have the same sort of responsibility. If, though, I play Sigmund Freud or Robert Maxwell or whoever then there is a responsibility.

Good humor isn't a trait of character, it is an art which requires practice.

We all recall the cruel stepmother in fairy tales. That archetype is often a necessary element in a fairy tale so that the heroine/hero can become a person of character and power. Stories of heroes and heroines often begin with a wound or loss or injustice and end with heroic acts of restoration.

Would you have a strong and virile nation, keep your homes pure; would you reduce delinquency and crime, lessen the number of broken homes. It is time that civilized peoples realized that prevention is more profitable than punishment, and that the home is the incubator either of children of high character or of criminals. Home building, therefore, should be the paramount purpose of parents and of the nation.

Happiness consists not of having, but of being; not of possessing, but of enjoying. It is a warm glow of the heart at peace with itself. A martyr at the stake may have happiness that a king on his throne might envy. Man is the creator of his own happiness. It is the aroma of life, lived in harmony with high ideals. For what a man has he may be dependent upon others; what he is rests with him alone.

I'm first and foremost interested in the story, the characters.

Yes, I am one of those people who feels that most of my work is adaptation of one sort or another. For me, it's a way to jump-start the engine. For example, some people use the technique of basing a character on a friend. They start writing with his or her voice, then at a certain point, the character takes off on his or her own. It probably no longer resembles the model, but it helped the author to get going. I find that's true of form, too. For every play I've written, I know what play I was trying to imitate. That helps me get going.

But I do believe that in all my shows, I really enjoy the quirky, the eccentric characters, the ones you don't meet every day.

I'm not a comic book character. I'm not Indiana Jones or Bond, I'm a flesh and blood guy who is ageing and changing. I don't have to do what I did in '93. I couldn't do it and thank God.

Whether we know it or not, our minds and hearts are populated by all the characters we will ever need - though we may disassemble them and rearrange the parts into composites for variation.

Compelling characters are not cogs in the machine of your plot; they are human beings to whom the story happens.

Characterization requires a constant back-and-forth between the exterior events of the story and the inner life of the character.