Character Quotes - Page 411

But the smoking is very frustrating. Who knows where it will go; where the story will go; where the character will go? There's still lots of options.

It's the one thing, a compromise I guess. On network it's the one thing you can't smoke on network. That's one of his character traits. We're working around that. We're trying to get aspects of it in there as much as possible. We'll see.

For example, the character of Claire in In Dreams wasn't imagined enough by me. Annette Bening is a great actress, and she gave a great performance, but because I hadn't fully written it essentially the character wasn't finished.

It's hard to know whether certain characters come to life or not, they either come to have their own life or they don't. I've written many things in which the characters just remain inert.

The great thing about fairy tales and myths is that they go beyond character. They're not about character. They're about more basic things. They're about basic fears or longings or desires or fantasies, and stuff like that.

One of the things I'm concerned about is that I really want to make sure the races of all the characters are kept. I don't like it when black characters become white in movies, or things like that.

I've been inspired by dreams - I've even stolen scenes or images or characters from them.

There's definitely a feeling with a short story that it's pure story telling. You're not really worried about theme. You're not going to stay with the characters long enough to live your life with them. And you have different kinds of relationships with them.

Each painting is its own world, but a lot of times I do see the paintings as one page from a story. You can imagine what has happened before or after. Sometimes they are worded as being a part of a story, especially the paintings where characters are in conversation.

Each acoustic guitar has its own character and personality. On a particular day, I might pick one up and start noodling around, looking for some emotional content in the chords.

If a character is going to end up one way, you start them a certain way. If they're gonna end up the polar opposite of that, you might start them differently to have dramatic integrity to their journey.

That spirit of mockery characteristic of the guaracha was part of the mambo from the beginning.

I love sentences. I love characters. But most of all, perhaps, I love to work on plot, and that may be where my natural gifts lie, if I have any. I like to think hard about plots in TV shows and films.

Whenever I get distracted or bored, my eyes wander over to that chalkboard and I read the words. Some of them grow on me, and others annoy me. I attack the latter with eraser and chalk, and keep nudging at them until I like the way they look and sound. Others never make the cut at all and simply get erased. Perhaps one day I will sell these on eBay to RPG players who need names for characters or alien races.

Early on, I settled on the first-person strategy as a way to deal with exposition and world-description issues. As long as the book is, it could have been far longer had I gone with an omniscient third-person narrator, or multiple point-of-view characters, since either of those would have enabled me to impart much more detailed information about the history and geography of the world.

At the beginning of the project, I wasn't certain that I could come up with an engaging storyline and cast of characters in this world, so I had a strong bias toward actually writing, and worrying about research later. In other words, I was afraid that I'd devote a year or two of my life to grinding through Kant and Husserl, then discover that there simply was no novel to be written here.

The less attractive the character, the more I enjoyed writing them. Officious bureaucrats and PowerPoint weasels are where it's at for me.

Television characters live inside our minds as though they're actual people. In fact, we know more about them than we do about most people in our physical lives.

The characters are complicated. The people you think are bad, may not be so bad, and the ones you think are good, may not be so good.

The authority of example and considerations of character, unlike pudding, are not whipped up in an instant.

Before 9/11, I was playing a wide range of characters. I would play a lover, a cop, a father. As long as I could create the illusion of the character, the part was given to me. But after 9/11, something changed. We became the villains, the bad guys. I don't mind to play the bad guy as long as the bad guy has a base.

Those with whom we can apparently become well acquainted in a few moments are generally the most difficult to rightly know and to understand.

Anything that forces the human soul to scream out and fight really brings out the best in us, and to have an opportunity to portray characters like that is inspiring.

It's much easier to put yourself out there under the guise of a character. You get a different name, different habits, different words. When I have to just be Nathan, that's when I feel vulnerable.

I'm not afraid of scars, be them emotional or otherwise. I think it builds character, and if it doesn't destroy you, I truly believe it makes us stronger.