Character Quotes - Page 248

If you kill a character people feel sad. That's too easy.

If you're writing fiction, you're dealing with characters who, themselves, will have heartfelt sentiments but who, themselves, live in this culture right now and thus face all the impediments to sort of dealing with those parts of their lives that, you know, that we did. So it would be not only silly but unrealistic to have a character saying that kind of stuff.

We all suffer alone in the real world. True empathy's impossible. But if a piece of fiction can alow us imaginatively to identify with a character's pain, we might then also more easily conceive of others identifying with their own. This is nourishing, redemptive; we become less alone inside. It might just be that simple.

Those characters are forever searchingeven if we're not watching them, they're out there, in some dimension. Mulder and Scully are still doing their thing, because that's their nature.

People are really much more respectful than they're made out to be and much more discerning about the fact that I'm not the character I play.

I like to be surprised. Fresh implications and plot twists erupt as a story unfolds. Characters develop backgrounds, adding depth and feeling. Writing feels like exploring

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.

Depending on what you believe as a person, there's always redeeming qualities to every character or individual, as spiteful as they might be.

From the outset, however, this whole controversy has been plagued by tacit assumptions, very often of a philosophical rather than a physical character.

All the characters on the album are inside me, though none are me. They are sides of me or who I was.

A certain luxury when you get to writing a novel is to have the space to have your characters just banter.

The eternal challenge for screenwriter adapters is figuring out how to make something work on screen, when so much of what made it work in the book were the thoughts of the character, and obviously wanting to avoid voiceover.

I look for material that both interest me and challenges me. If I am drawn to the material and I have to work hard at it, the characters and the plots reflect the hours and hours of research.

It is curiosity, quite right-a divine curiosity. A characteristic of the gods is curiosity.

It's hard being a hostage in somebody else's mouth - or a character in somebody else's novel.

Children who reach the age of eighteen with their entire skills set composed on Nintendo and eating Doritos have been neglected. Their parents neglected to give them the character traits necessary to live successfully.

But actually making pictures to look like my pictures, I've done it for so long, I'm kind of used to it now. So at the beginning of the process, designing and storyboarding everything, I sort of did all that. And then designed the characters, and doing the textures for the characters, and the texture maps to cover all the animated characters and the sets, I did those, because that's where my sort of coloring and textures get imprinted on the film.

You must achieve the confidence of knowing that you possess absolute, unbending, unimpeachable integrity. Everyone must know that. Above all else, it is integrity that defines your character.

I can't recall a story that played out exactly as I'd expected it to. That's one of the thrills of journalism - being surprised, and learning new stuff, but it also poses the biggest challenge to a writer's character.

In each of my characters there is a little of me. Not strictly autobiographical but a little piece of my soul.

I think in many ways, I'm sort of a blank canvas, because in many ways, I'm just observing the world and the people around me and their characters and letting them kind of explode off me and to find out why they're doing what they're doing. But then every once in awhile, I get to take on a whole new character.

A new breed of Americans born out of the social movements of the 60s and grown into a majority in the 70s holds a set of values so markedly different from the traditional outlook that they promise to transform the character of work in America in the 80s.

Gentlemen, the character of Washington is among the most cherished contemplations of my life. It is a fixed star in the firmament of great names, shining without twinkling or obscuration, with clear, steady, beneficent light.

We would choreograph [ with Paul Dano] before each scene [in Swiss Army Man] and very quickly got to a place where we could improvise physically in scene and know that the other person would respond in character appropriately. So that [dynamic] was a lot of fun.

I want to prove to people that I'm an actor and not just a character.