Character Quotes - Page 398

He's [Jesus] the most fascinating character in history, really - the character who's made more difference to the world than anyone since him. I daresay that Muslims would say Muhammad was that character, but I think Jesus had a sort of 600-year start on him.

The way you speak of the characters in your story shows what you think of the values of conservatives‚ or evolution, for example. It shows where your moral center is. So you are in the message business whether you like it or not.

The Republican Party has consistently opposed Obamacare (as costing more), stimulus spending (as increasing inflation), etc., none of which has happened in spite of seven years of their warnings. Their main problem is that they don't have the character to admit that they are wrong. They don't have enough character to rethink their deeply held assumptions.

Both Proust and Joyce record the ways in which human perspectives can be transformed. In Portrait, Stephen Dedalus is constantly undergoing epiphanies, but their effects are transitory: the new synthetic complex quickly falls apart. Proust's characters, by contrast, often achieve lasting changes of perspective.

One can feel the immense joy of Amy Hill Hearth's engagement in her first novel. It radiates through every scene and through every page. Sometimes, an exceptional writer finds an exceptional premise, and the result is a truly exceptional book. Such is the case with Miss Dreamsville...The writing is brilliant, especially the dialogue through which the characters are defined.

The Humbling is not vintage Roth, despite its compelling premise. The bizarre series of episodes -- mostly sexual encounters with women -- which make up this short novel don't play to Roth's strengths. (...) The Humbling disappoints because it avoids these universal implications, and veers off into a baroque world of the unique and fantastic, never quite deigning to make its world concrete or to give its characters the honour of an independent will.

It takes about a year to write an opera for me, but not a really a year of writing. I'm touring at the same time, and I'm playing, sometimes doing smaller projects.[The opera] Akhnaten fits in with Gandhi and Einstein, so that forms a trilogy in a way.I picked people who were these kind of larger than life characters, who kind of changed the world they lived in by almost the force of their personality and their inventiveness. People that I think not only do I admire but I think they're admirable people.

It is sometimes frightening to observe the success which comes even to the outlaw with a polished technique, and we find ourselves doubting the validity of the virtues we have been taught. But I believe we must reckon with character in the end, for it is as potent a force in world conflict as it is in our own domestic affairs. It strikes the last blow in any battle.

Discipline is the bedrock of character.

Perhaps I am better prepared to create a certain amount of integrity in the character because I know so much about the parts of those universes. So perhaps it goes hand in hand, and I don't shy away from it certainly. I think I have a great facility for it, so it seems to work.

Writing fiction means putting a lot of what you believe about the world at risk, because you have to follow your characters.

Fiction is a place where people can meet, where they take the time to very seriously examine and think about the experiences of other people and about the sorts of moral decisions those characters are making.

Brands are useful ways of short-handing practically anything - look at the way Tom Wolfe first used brand name lists to sharpen up a character and a situation. Look at the most brand-referenced novel, Bret Easton Ellis's 'Glamorama.

Pop managers are fixed in the dramatic stock character repertoire too, ever since the first British pop film musical, Wolf Mankowitz's 'Expresso Bongo' of 1959, with Cliff Richard as Bongo Herbert and Laurence Harvey as his manager. The key components were cast as X parts gay, X parts Jewish and triple X opportunistic.

In terms of how I work with actors, having worked so heavily on the script I have a very clear idea of the characters; they are reasonably well illustrated in the script. If you cast it right, to a great degree you can hand it over to the actor and I just make suggestions. I'm not the kind of director who needs or wants to get into too much finessing. Ideally, when you hit the set, you have this conversation, like, 'eh, what did you think?' 'I don't know, what did you think?' 'Why don't we just try it again, make a few physical changes.'

I think you should identify with your character, but plenty of people like themselves and hate themselves. You just have to find out what's truthful for the person you're playing. When people talk about that, I think what they're saying is that as an actor, as Peter, you don't want to make a judgment that comes from your worldview about the character. Your judgments should be coming from the place of the character, and within that space, sure, you could love or hate yourself or whatever you think is most appropriate.

Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.

I like having a plot, I like characters with a reason to get up in the morning.

Nobody is surprised that women writers accurately represent male characters over and over again, no doubt because everybody knows that women understand men much better than vice-versa.

One of the first things was I made Arlo [the Apatosaurus] a younger character. And then when I was that age (around 11 or 12), what was I like? Sweat pants, turtle-neck kid; didn't know anything about fashion or style, the culture of the world. I was very sheltered.

I know of a number of people who are successfully earning to give. That isn't for everyone but for those with the ability to earn a lot of money and the character to resist the temptation to spend it on themselves, it can be a great way to do good.

If you have the abilities to earn a lot of money and if you have the character to persist in giving that to the most effective charities you can find, then that may be the best thing that you can do. And - also, if you do become a Wall Street banker, I think you need to be aware of what you're doing in terms of your daily work, not just earning money to give a lot away. But you need to think about - am I harming people through the work that I'm doing?

Whether your characters journey daily to a distant moon or just down the street to the corner bar, what matters to the reader is the singular event that distinguishes one such voyage from all the others and makes for a story worth telling.

I frequently gravitate toward characters that have some urgency or soul.

I always think change is important in a character. The most dynamic choices that you can make for a character are always the best ones.