Character Quotes - Page 431

You don't need a dead father to explain a character's sadness. And impressing yourself with wit/cleverness often feels like what it is - authorial intrusion.

I try to think as little as possible, at least while working. I look at some of my early stories and can see the machination behind them, like a gear slowly moving. For example, sticking a dead father into the story to explain a character's sadness and bad decisions, or trying to impress myself with my own cleverness.

There were definitely scenes I struggled with more than others: the car accident and the thunderstorm are two that come to mind. It's difficult to write about a thunderstorm. There are only so many ways to describe it and our vocabulary is so limited. And the car accident scene required a tense, manic quality that had to be conveyed in the language, as well as the character's dialogue and actions. I was editing these scenes long after I thought I was finished with them.

Even happy situations can easily start to feel miserable. So, I think that people who consider themselves sophisticated or who are in fact sophisticated have come to distrust stories that are uplifting or simply stories in which the characters get what they want in the end. Because in life, what you want is never the end.

To touch on people's lives [ in a way they ] haven't been touched on before, it´s fascianting. You know, it's one thing if [ a celebrity ] has an incredible character and you're really going to be able to delve into their personality – that's great. But you can never get real purity if people have been spoiled by the camera and don't trust you. I like feeling that I'm able to be a voice for those people who aren't famous, the people that don't have the great opportunities.

I love playing characters that are strong, when there's physicality involved.

I think just about everyone is doing something that's completely different from what you've seen them do before or a stretch in some way. Like Brandon Routh is so funny, he's awesome. And Chris Evans is hilarious. I mean, he's always funny but just in this character, it's like, I mean I could barely stop laughing on a single take, it was unbelievable. So I think everybody's going to be really, really happy with all the [exes?].

I mean every character you totally, you know, the full fiber of the personality is kept in the film, and all of those little moments, all those funny little tidbits are all in there.

I realized that the people weren't just characters but they were people and they were getting to do something that was so fun and I wanted to be a part of it.

I want to be inspired by the characters that I play and excited by the projects that I do.

I guess I've just gotten to the point where I don't want to be bored by the characters that I play, and I don't want to feel like I'm having to make something more interesting or I'm having to force something that's not really there on the page.

I've been doing It's Aways Sunny for 12 years, and so I have this cable sensibility. When I read the Grinder script, I was like "this is edgy," which is great, but in a different way from Arrested Development. I feel like the characters are a little more relatable, so maybe that's the difference.

The characters Im most emotionally involved with are like friends you leave behind when you move away. You dont see them regularly anymore, but you still love them and keep in touch.

Unless we maintain correctional institutions of such character that they create respect for law and government instead of breeding resentment and a desire for revenge, we are meeting lawlessness with stupidity and making a travesty of justice.

We are poor in character when we think getting by is a substitute for doing our best.

People who don't pay attention to the question of justification are often rather uninteresting, in my opinion. I am most fascinated by characters who struggle with the demands of justification.

I've never done an improvised movie as a fictitious character. I think that's the challenge.

Well, I think in my own work the subject matter usually deals with characters I know, aspects of myself, friends of mine - that sort of thing.

My main worry is that after a certain point you become so identified with a character and a series that you might not be able to get work when your show goes off the air.

For the devil is better pleased with coarse blockheads and with folks who are useful to nobody; because where such characters abound, then things do not go on prosperously here on earth.

It's good fun to create an unpredictable character. When he comes into the room, I don't know what he's going to do - I have to find my way.

When we read, we are doing more than delectating words on a page stories, characters, images, notions. We are communing with the mind of the author.

Some parts of the population are starting to realize that character is extremely important and that it cannot be measured by the things we like to measure it by: the tabloids and so forth. Character is crucially important to a leader, to be a moral leader, and we'd better make it primary on our list or we're going to keep getting more of the same.

I want to be true to the character and maintain some consistency and give the audience what they love while at the same time keeping things fresh and grow the character.

I'd just like to see a role for women where someone who isn't traditionally attractive is not portraying the best friend. You know, the character that only speaks in questions. "Gee, are you gonna go out with him? Do you think I look fat?"