Character Quotes - Page 402

You get all of your neuroses worked out on stage. I haven't actually played very many nice characters, certainly not on stage. It's not a quality that attracts me.

When you read a fantasy novel part of the fun is getting to explore a new world. Everyone knows that. But I believe the same is true about characters. You can explore interesting people in the same way that you explore a town or a culture.

Sometimes when I get up after writing, I'm surprised at how my body feels. Suddenly I'm not a lanky, hungry young boy any more. It's no fun putting on ten years and fifty pounds all of a sudden. Other times, I get up and I'm pleasantly surprised that I'm not a weary innkeeper, hopeless, with bones that feel like they're made of lead. I really sink into the characters that I write.

He then proceeded to shout at Alpha and Beta, a sign that he was in a genuine good mood. They took it as calmly as ever, in spite of the fact that he accused them of things I'm sure no donkey has ever willingly done, especially not Beta, who possessed impeccable moral character.

Also, worldbuilding touches all aspects of your story. It touches plot and character as well. If you don't know the culture your character comes from, how can you know what he's really like? You must know your characters on a much deeper level than you would if you just shrugged your way into a cookie cutter fantasy world.

Most games follow a real railroad plot, no matter what you want, you're following their storyline to its unavoidable conclusion. I'd like to write a game where your character can follow any number of possible story arcs and sub-plots.

You can't write good characters if you can't imagine what it's like being in another person's skin. And if you can imagine that, you naturally want other people's lives to be better. You want to make that happen.

It's easier to write about heartbreak after you've had your heart broken. You have more material to draw from, you can extrapolate from your own experiences and make reasonable assumptions about how your characters would feel and act.

Always when I directed the play, I was always trying to cast people not who were necessarily like the characters, but people who I felt had the essential component that the character had, some kind of soul for it.

Some like to start from the inside and then go to the outside. I'm the other type of actor. First, I have to know how my character looks, how he walks, how he drives, how he eats.

If you watch a movie, it never happens that you see a character that is in every single scene.

The role I played [in theatre] was originated by Ian McKellen in 1979 and he came. I didn't know he was there and I walked out at the end of the play, which is a very intense play - my character is required to do some really horrible things - and the director was waiting backstage and he goes, "Obviously I didn't want to tell you guys, but Ian was here today" and we, of course, freaked out.Ian McKellen said some really beautiful, kind things, one of which was, "It's so much harder to watch than it is to do."

I had done a little bit one other time. This character [in Jack Reacher] is a psychopath, but I had been hired by Carlton Cuse and Randall Wallace.

The biggest risk with a series that goes on this long is that you'll get bored with the character.

I hate the term "mystery". That's not what I write. I think the Scarpetta novels are much more character-driven than an average puzzle solver. Writing should be like a pane of glass - there's another world on the other side and your vision carries you there, but you're not aware of having passed through a barrier to get there.

Avant-garde theatre, with its distrust of the individual (that bourgeois invention), tends to go beyond [character] and the psychological approach in search of a syntax of types and characters which are "deconstructed and post-individual.

What is the character trying to say? Why? Be as specific as you can, using sense images that evoke something about the character. Try using the character's senses, even if the character is you.

I like the idea of having a film that is choreographic in all its aspects, not only in the dancing scenes, but also in the way the camera and the characters move in order to have that feeling that it's always musical.

I'm the character actor in Hollywood movies, the girl who has to be annoying so the guy can go to the other girl.

I usually play character parts in Hollywood films.

Some audiences might find homosexuality an uncomfortable subject matter, and a character who is a Japanese collaborator is always uncomfortable.

It hurts that, you know, the media's made me into sort of this like punching bag or cartoon character-they think that I don't have any feelings, and, you know, it hurts like anyone else.

I think a lot of people have seen me on The Simple Life and think I'm a "spoilt airhead," but I was playing a character. The producers said they wanted Nicole and I just to be crazy and funny and say outlandish things.

The rock-star thing became very destructive, like, wow. I didn't know what I was doing. I just kind of became that thing. The hair, that rock-star kind of lifestyle, just living a dream. It kind of took over. It started out very innocent and then I turned into a cartoon character. And I started to feel like a cartoon character.

I was able to be distant by portraying another person, another character, if you will, and I found myself not stuttering and not having anxiety attacks when I was portraying another soul, another being, and I found comfort in that. I think many actors do, playing someone other than themselves.