Character Quotes - Page 382

I'm always tempted in the back of my mind to continue to write things in the Star Trek universe, in the novels or the comics, just because I don't get to play in that universe and I don't get to hang out with those characters any more. You spend hours upon hours of your life, day after day sitting in writers' rooms, talking about these people and these situations, and it becomes very real to you. They're friends of yours, in a lot of ways.

Acting is not about knowing all this stuff; it's about character.

One of my goals is to allow readers to see my characters and the world they inhabit as vividly as possible.

Like Flannery O'Connor, McCorkle's genius is to give us both philosophical speculation and a riveting narrative filled with unforgettable characters. Great writing, poignancy, humor, wisdom-all are in abundance here. Jill McCorkle is one of the South's greatest writers; she is also one of America's.

On the last drafts, I focus on the words themselves, including the rub of vowels and consonants, stressed and unstressed syllables. Yet even at this stage I'm often surprised. A different ending or a new character shows up and I'm back to where I began, letting the story happen, just trying to stay out of the way.

Sometimes I know what my characters are moving away from or toward; more often I just wait and see. For instance, though I knew Sinkler in 'The Trusty' was going for water, I did not know that he would meet a fetching young farm wife until I got him into her front yard.

I think that's what I love about writing, is the ability to try to, in a sense, take a vacation from yourself and try to enter the sensibility of another time, another character, another place.

Each character represents a different color on the big palette of what this ultimate painting is going to look like, who your guy is, and just try to be as honest and simple and real as you can possibly be. The outer trappings are incidental - costumes, period, makeup - all of that is rather insignificant at the end of the day.

American exceptionalism is the recurring character in the nation's narrative.

Most of my writing is an effort, one way or another, to figure something out about myself, and often when I read dialogue between my characters I recognize it as a discussion between two aspects of my own personality, aspects which are too often at odds.

It's hard for actors to have to deal with the fact that they pour so much into their character, but the audience might have a negative assessment of them.

The worst thing you can do as a performer is to judge your character in any way, positively or negatively.

A passion for any novel, and any character, can crystallise your ideas when you really need to be as open as possible as a performer.

Women don't question themselves when they enter into a story that has male characters, but men do question the validity of a female narrative.

Normally, when youre working on something, there are other characters that you have alliances with, and you have unified goals with some characters.

I always try to get as personal as I can with the characters that I play, which is a reason why I don't play a lot of characters.

There is no authentic inner freedom that does not, sooner or later, also affect and change human history.

I don't think I change, but it definitely makes me aware of some of the things that are inside of me. Actually, because I have played a lot of villains up until now, I put something of myself into these roles. So when I see myself on the screen I'm more aware of when I'm like them in real life. I can feel it. That's the character you play; that's the guy you don't want to be. So I'm more in control of it.

I think many Dutch just don't know the history of Black Pete, that he is rooted in slavery, and how he was used to dehumanize a race of people. Once they realize this, many stop using this character, but those who continue are either in denial, insensitive or actually racists.

I wasn't that much of a Disney buff growing up, but I love the mystical and magical nature of Peter Pan, and I have connected with that character through Owen [Suskind] in making this film ["Life, Animated"].

Creating a character on or off the stage is an escape.

Buffett's uncommon urge to chronicle made him a unique character in American life, not only a great capitalist but the Great Explainer of American capitalism. He taught a generation how to think about business, and he showed that securities were not just tokens like the Monopoly flatiron, and that investing need not be a game of chance. It was also a logical, commonsensical enterprise, like the tangible businesses beneath. He stripped Wall Street of its mystery and rejoined it to Main Street -- a mythical or disappearing place, perhaps, but one that is comprehensible to the ordinary American.

Buffett’s genius was largely a genius of character—of patience, discipline, and rationality.

Some people are all quality; you would think they are made up of nothing but title and genealogy. The stamp of dignity defaces in them the very character of humanity and transports them to such a degree of haughtiness that they reckon it below themselves to exercise either good nature or good manners.

It is hard enough to be good at all, but to be good in comedy speaks for your character.