Character Quotes - Page 401

We all have these tendencies in us that could go this way or that. I think that's the real key in writing. To look at a character without judgment.

We give you characters we'd feel very comfortable judging, and then go: 'Oh yeah? Watch this'.

I always would be happy to make a character even more unlikable, but you know, there's a limit and if you go there, you get into a very different kind of movie, man.

I just don't want to be bored. That's the only criteria I have when I choose a role to play. I like it if the script is good and the director seems like he's gonna be good. But if I can find a variety of things to do, which I feel like I manage to do, as far as the actual performing goes and the character, that's huge for me. To be able to feel like I can do a fairly diverse array of things. I've been lucky in that way. I don't mind being stereotyped in some way and playing certain kinds of guys, but if I can find something to occasionally get a break from that, that would be nice.

The Sound of Building Coffins is a soulful work from a writer of the weird. Maistros does more than make you feel for his characters and their twisted, damaged lives; he makes you *want* to feel.

I just love Kate. [Bieber], to me, is one of the funniest impressions because it's so all encompassing. It's like a total body and soul impression. But that's Kate. Every character she does is that way.

When guys see a movie starring women, they go, "That must be filled with these characters I see in these movies who are such a drag." And that's just bad for everybody.

I feel like a lot of the films I do, part of the reason I like doing them is I'm not 100 percent sure what it's going to be. It's exciting. I read an equal amount of very generic scripts, and you kind of know exactly what those are and that doesn't whet my appetite. I already know what it is or I already know what the character is. It's just a lot harder to get interested.

For me, playing a really bad character is about figuring out what brought the person to where we need him.

It's a constant learning process - not just what you need to learn for the character or as far as good actors - but as an actor, there's no limit. Every time now, you're learning so, I think that's a good thing though.

Have the courage to analyze great emotions to create characters who shall be lofty and true. The whole art of the analytical novel lies there.

All my novels are very much directly related to my inner life, even though I'm inventing characters, even though it's fiction, even though it's make-believe, it nevertheless is coming out of the deepest recesses of myself.

History is present in all my novels. And whether I am directly talking about the sociological moment or just immersing my character in the environment, I am very aware of it.

I was very moved to see that the name of the boat was Hamlet - an imaginary character becomes so important to people, we think about them so much that we name a ship after them. The imaginary lives on in the real.

I don't think about the stories so much, as the characters themselves. They live on, and they are almost as real as I am.

My characters, I find them as I'm writing. It's quite incredible how fully realized they are in my mind, how many details I know about each of them.

I project myself so deeply into the characters in novels that I'm not thinking about my own life.

For some reason, all my characters come to me with their names attached to them. I never have to search for the names.

I'm very comfortable writing in the first person; it dives into the character in a way that's difficult if you're writing in the third person.

You never want to judge your character.

When I look at a character, whether he's good or bad, one scene or 10 scenes, I just have to find my way in.

For me, I always have to establish a reality for the character. In very actor-y terms, you just have to understand his reality.

My only job as an actor is to try and understand the character and, to the best of my ability, bring this character to life.

I thought he was an interesting central figure, central character, one who is definitely not your typical central character figure in a film, who's easy to like. He's not easy to like. It forces you to involve yourself with what's going on.

All art is probably erotic in its ultimate character, but painting more than anything else is a purely nervous erotic activity.