Character Quotes - Page 470

There are no characters in the limited series Fargo that are derived from the characters in the film Fargo. It's hard to describe how remarkably true to the film the show is.

We also have a piece about the Mayflower, but it's just a very different, very gritty, very character-driven version of why those people were on that boat and what the experience was like for them, emotionally, physically and spiritually, and also the Native Americans and what the state of Native American society was at that time.

There is some lack either of sense or of character in one who becomes involved in difficulties with the worthless or the vicious.

Nothing on earth in fiction is less interesting than characters under the influence of alcohol.

I forget who said it, but someone said, your job as an actor is to communicate the most honest version of this character, and so the parts of you that you can use are obviously the easiest to access, because you live through them every day.

To be an actor and a director, I actually felt it helped me tremendously to be in the scenes of The Hollars, because as you can see, they're very intimate, very intense scenes. You don't want to break the actor's character and you don't want to break their momentum, so as the actor, I tried not to call cut as much as I could, and almost make it feel like a play, just set this environment where these amazing actors could do what they wanted to do.

I think one of the coolest things about the job is the level of trust we have for each other. The actors fully trust that the writers will write amazing episodes, and the writers trust that the actors will follow their instincts with the characters

I'm sure there's pieces of me in all the characters I play.

It is three and a half hours long, four characters wide and a cesspool deep.

You don't want to be ungenerous toward people who give you prizes, but it is never the social or political message that interests me in a novel. I begin with an interest in a relationship, a situation, a character.

I believe in plot, in development of character, in the effect of the passage of time, in a good story - better than something you might find in the newspaper. And I believe a novel should be as complicated and involved as you're capable of making it.

The characters in my novels, from the very first one, are always on some quixotic effort of attempting to control something that is uncontrollable - some element of the world that is essentially random and out of control.

The main character and the most important character are not always the same person - you have to know the difference.

The concept of writing a novel and not knowing where it's going - I don't know how to do that. Novels are plot- and character-driven, so if I don't know what becomes of people, how can I know where it should begin?

I always begin with a character or characters, and then try to think up as much action for them as possible.

The British tradition, basically, is to go to the character. And the Hollywood tradition, shall we say, is basically to take the character to the performer.

Developing characters is a collective process, on one hand; it's an individual process on the other. The truth is rarely pure and never simple, as dear Oscar Wilde would say. A great of it, of course, is, you collect as much information as you can and then you put it into the mulberry of your mind and hope that you come up with a decent wine. Sometimes you do; sometimes you don't.

One of the things about crowd work that's so exciting is when you discover a character in the audience who's interesting or funny, who you can vibe off of. If someone's got a weird job that you can make reference to throughout, or you can bring that person onstage - humiliate them, or celebrate them! You can put people in conversation with one another. The best is when something that they're doing can reflect back on something that you're doing.

Comics have a problem, and that is continuity - the obsession with placing the characters in an existing world, where every event is marked in canon. You're supposed to believe that these weepy star boys of now are the same gung-ho super teens fighting space monsters in the '60s, and they've only aged perhaps five years.

I'm a personality - like a George Plimpton who effectively plays himself in a bunch of different roles, or a Paul Lynde-type character.

But my relief that David Auburn's Proof is less about its ballyhooed higher mathematics than the fragility of life and love was matched by my delight in his fine and tender play. (...) Proof surprises us with its aliveness and intelligent modesty, and we have not met these characters before.

For the last 20 years of my life, I've had the mantra to do amazing parts with amazing people in amazing projects, so I'm attracted to good story, writing and character and good people. That's what I'm always searching for and I don't think that's ever going to change.

We must also remember some of the key lessons of Scripture. In our weakness he is strong. He can use suffering to strengthen our character. He can use evil to accomplish good (precisely the nature of the discussion in the book of Habakkuk). God's sovereignty is demonstrated in that whatever personal or nonpersonal agents do, God takes it and turns it to his purpose.

Formed on the good old plan, A true and brave and downright honest man! He blew no trumpet in the market-place, Nor in the church with hypocritic face Supplied with cant the lack of Christian grace; Loathing pretence, he did with cheerful will What others talked of while their hands were still.

Becoming a father made me much more interested in the parent character in my novels. I've never found parents that interesting.