Character Quotes - Page 457

I'm going to pull myself together for a while and think-try to determine what character of a woman I am; for, candidly, I don't know. By all the codes which I am acquainted with, I am a devilishly wicked specimen of the sex. But some way I can't convince myself that I am. I must think about it.

I just try to put myself in the sense of being a character, sometimes male. I suppose I just like the idea of trying to be different people coming from all kinds of different angles. Most of it was just from my imagination.

I think actors always like to think they don't bring the character home, and then their family all laugh and tell you otherwise.

I can't help but think that it's an unfortunate custom to name children after people who come to sticky ends. Even if they are fictional characters, it doesn't bode well for the poor things. There are too many Judes and Tesses and Clarissas and Cordelias around. If we must name our children after literary figures then we should search out happy ones, although it's true they are much harder to find.

I have played Blair Cramer for 20 years, I feel a personal investment in the success of 'One Life to Live.' I love the show, I'm a fan of the characters, and I have invested in the journey these fictional characters have traveled.

OLTL' has now allowed me to sing through the character as Blair. If you've followed my 20-some-odd-year career, you know I am a singer.

[Producers] promised me they wouldn't do that sort of "defining nature of my character is that Laurel is Latina [in How to Get Away with Murder] ." It has nothing to do with that. She just happens to be a Latina.

I also really pay attention to whether the script embodies a full female character or if they're just wanting a two-dimensional objectified woman. So I also have that aspect to take care of as well.

I told my friend - we were working on a movie together - and he gave me a script and asked me to give him notes. And they were all male characters, and I said, "You know what would make this character more interesting?" And he asked what - and it's this road trip between three guys, basically, one older man, one 30-year-old and a 13-year-old mechanic. And I said, "If you make the 13-year-old a girl, and you make her an Indian-American mechanic." And he said, "What do you mean?" And I said, "Yeah, don't change anything in the script about him, and just make it a her."

[The main character] is in a forever-growing process. I feel the movie [everybody Loves Somebody] did that very well and not finishing off as "a woman's life ends when she finds the right guy".

I love family. In this movie [Everybody Loves Somebody], my character is a successful OB-GYN and yet she goes back to her teenage years when she's with her parents. Like, that's me.

I should have asked for credit - but he has no idea how amazing it is that a character that was written as a boy can be equally written for a girl. It's like you said, just write a character as if it were a man, and then turn it and make it into a woman. It's like, we're human beings, after all.

When you appoint someone, you appoint somebody because of their character, their convictions, their abilities. And not because you have a belief, a confidence, in a foreordained outcome in any given decision.

But, you will say, we destroy the most hallowed of relations, when we replace home education by social.... The Communists have not invented the intervention of society in education; they do but seek to alter the character of that intervention, and to rescue education from the influence of the ruling class.

The need of a constantly expanding market for its products chases the bourgeoisie over the entire surface of the globe. It must nestle everywhere, settle everywhere, establish connections everywhere. The bourgeoisie has, through its exploitation of the world market, given a cosmopolitan character to production and consumption in every country. To the great chagrin of reactionaries, it has drawn from under the feet of industry the national ground on which it stood.

I was given the ability to create stories and characters. That's my part of the long chain of writers, publishers, agents, booksellers, librarians, and a host of others who eventually deliver literature to the world. I want to do for others what Eudora Welty did for me.

True hope is based on the energy of character. A strong mind always hopes, and has always cause to hope, because it knows the mutability of human affairs, and how slight a circumstance may change the whole course of events. Such a spirit, too, rests upon itself; it is not confined to partial views or to one particular object. And if at last all should be lost, it has saved itself.

If you want the reader to accept the premise as a given, then being specific is vital. This is what I'm after; I want the reader to accept the setting and the mindset of the characters, so we can get on with the story.

When a woman creates an unlikable character, a lot of people think it's a mistake.

The plot is very important because writers have to play fair with their readers, but no one would care about the plot if the character work wasn't there. So, basically every book I work on starts with me thinking not just about the bad thing that's going to happen, but how that bad thing is going to ripple through the community, the family of the victim, and the lives of the investigators. I am keenly aware when I'm working that the crimes I am writing about have happened to real people. I take that very seriously.

It is hard work to give life to new characters every single day. It is not as if I am God. I am just a tired, middle-aged woman trying to keep going.

I would love to do some characters that have greater vulnerability. I don't know why. I know I can play these roles, but they're certainly not the only roles I can play.

I would love to do some more comedy. I would love to do some silliness. I would love to do some characters that have greater vulnerability.

Were not one thing, as human beings, so any character that is written uni-dimensional, thats just a shallow character with shallow writing and shallow acting.

Even when I'm writing in character I'm normally still writing about things I know or things that have happened to me or using that character to start an exploration of my own consciousness. Really though, any character that you can examine is just an examination of a part of your own consciousness.