Character Quotes - Page 364

I wanted to take a damaged individual in a damaged society with damaged relationships between nations and take a look at how this individual survives amongst them, and that for me as a writer is the connection that you needed to get inside the skin of the main character and wonder how he's going to cope with all this.

With any period piece I think the thing to do is forget that it's not contemporary when you're writing and to have the characters feel as much as possible like characters that you would know.

I think once those friendships, if you use that as an analogy, the friendships between the audience and the character is established, then you can start to take liberties. I believe that as this unfolds people will find the time invested worthwhile.

I'm always interested in characters who are closed down, but who open up when they choose to, rather than when they're obliged to. I think that's a very appealing thing, for an audience and just in life. I like the idea that something will say nothing, and then get straight to the point. That feels like how your heroes should be.

I think people are drawn to characters that break the rules. I think there is something about a good person doing bad things for what they consider to be a good reason. Then the battle is on to almost prove to the audience that it's justified. How far can you go with that? How far can that character go before people won't accept it? Trying to walk to edge of that line is a challenge.

I wanted to make sure the focus [in The Land] was on human beings themselves and their decisions, but still connected to the urban environment that people associate as being black. I think I was able to make a film without commenting on "black this or black that" and you still feel the presence of it. There's no one character who's saying "we're all black and we're all in this struggle." It's that you just feel it. Some of that is because we get the sense from a lot of independent films that black people struggle all the time.

A story is built on characters and reasons.

I could imagine that a character could do almost anything at any time, and that was the freedom of the whole thing. But keeping track of what was plausible for certain characters [was the challenge].

One thing about our show that wasn't even in my awareness, but was brought to my attention by other people, is that our show is about these love-based relationships. Even though the characters are obviously going through different conflicts, you can really feel that the characters love each other. And they really try their best.

I'm always attracted to the vulnerable character more than I am the superhero.

I look at it like, I'm just a character actor. If I get cast as the stoned sidekick, fine. But I just want to act.

I have that sort of Curb Your Enthusiasm, Larry David/George Costanza thing where people are like, "How did you feel writing such an unlikable character?" And I'm like, "It's me! I based him on myself!" There are certain moments where they do feel like unwittingly personal attacks.

I try to outline. I'm a lazy outliner. I will put the points down of each chapter or series of chapters, but it always changes. For me it's a place of evolution. I don't really know who the characters are. I don't really know what the story is. I outline and that really just gets me moving. It's like I'm drawing up fake maps, but they turn out to be correct.

If it's time for your character to go, it's time for your character to go - you know what I mean? That's it. It doesn't matter who you are.

Big hooks have always been a part of American movie-making. So, to make a movie where you're just driving story through the characters without a high-concept is a challenge.

It's a serious character weakness to think you can get something of value for little or nothing, to believe that life will flood you with abundance when you won't commit yourself to delivering your best contribution in exchange. In fact, it's a safe bet that you'll subconsciously sabotage yourself from being in such a place for long. You won't allow yourself to receive what you don't feel you've earned. To receive life's bounty, you must know without a doubt that you deserve it.

We've got very few bodies right now so we were tired, but we've also got a lot of character and we want to win.

So much emotion can be brought in an animated film that's very hard to get in a live-action film. I haven't quite put my finger on why, but it might be because the characters can make facial expression that, if you made them in a movie, they'd call them corny.

I do think that animated films have the ability to touch you someplace. There is something about live action movies that is different because we know the characters are real people, so they always stay flawed for us somehow. But animated films touch us in a very clear, uncomplicated place. They have that ability. And an animated character can make an expression in a way humans can't do.

And if Henry Higgins is not the most reprehensible character ever written for the stage, that's only because somewhere, somehow, someone is composing a musical biography of Ronald Reagan

I've always been proud of my character and how I live my life. So my regrets are few, and the ones I do have, I'm glad I have.

In essence I'm really a very traditional writer. I subscribe to the notion that, ultimately, characters do drive everything else.

To me experimental fiction ultimately is about the experiment and I'm not interested in experiments for their own sake, and if anything I've always steered a bit clear of that kind of thing, because it seems gimmicky to play around with text rather than do the work of telling a story and creating characters.

Before I begin a novel I have a strong sense of at least one central character and how the story begins, and a more vague sense of where things may wind up, but at some point, if the novel is any good at all, the story and characters take on lives of their own and take over the book, and the writer has to be open to that.

There have been times I thought that when I got a certain point in the story, a certain character was going to do a certain thing, only to get to that point and have the character make clear that he or she doesn't want to do that at all. That long phone conversation I thought the character was going to have? He hangs up the phone before the other person answers, and twenty pages of dialog I had half written in my head go out the window.