Character Quotes - Page 487

It's hard to look at anything with an objective eye. I think people bring themselves into the equation when they watch a movie. They bring their own prejudices, their own biases, their own feelings toward the subject matter, the characters.

With Rodham, for instance, it has to work on an emotional level. It has to work on a character level. If it's only "Look, it has famous people," then it's a wax museum come to life and that's really boring. It's sort of like what they say about science fiction and horror where the really good ones, if you remove that element of it, it still has to work. That's the reason The Shining works or Rosemary's Baby or Blade Runner.

One of the nice things about books as opposed to television and movies to some extent is it's not a passive entertainment. People really do get involved, and they do create, and they do have their own visions of what different characters look like and what should happen. It's great - it means their brains are working.

It was like meeting someone out of your dreams, or fantasies, or a beloved character from a favorite book.

The idea for Maximum Ride come from the earlier books of mine called When the Wind Blows and The Lake House, which also feature a character named Max who escapes from a quiet despicable school. Most of the similarities end there. Max and the other kids in Maximum Ride are not the same Max and kids featured in those two books. nor do Frannie and Kit play any part in Maximum Ride. I hope you enjoy the ride anyways.

You really try to work the character out and spend time in the headspace of the character. That's what I did.

Like the character I played in Jekyll, we all have different masks we put on for different occasions. As much as we all want to lead decent lives, we're also attracted by the idea that something dark may lurk within us.

Music and writing do fold together in the sense that you have to have a certain level of skill in order to execute your ideas and you need a medium. The idea of improvisation is one that many writers fall into, and I improvise a great deal when I'm writing, but there's a structural framework that I'm working around, and that takes more time than the actual writing. Once the characters get to yapping and talking, they'll move from one room to the next, and I just have to make sure that the house is built. That's really hard, that's the kind of thing that sits with you all day long.

That's the main thing that attracts me - characters who have big journeys. I like playing those people.

I kind of embarked on a fruitless search to find information about my character, Frederick Aiken. And it was fruitless, unfortunately, because there's so little about him.

I did 'Narnia' because it was a good opportunity and all that, but really? I wanted to play Mr. Tumnus because he's my favourite children's character. That was awesome.

To me, the more bizarre the character, the more I'm attracted to it.

I'm a huge comic book collector. When I was a kid, I had both Marvel and DC. I was my own librarian. I made card files. I had origin stories of all the characters, and cross-referenced when they appeared in other comic books. I was full on.

The idea of devoting two years of my life to making a corporate product that looks and smells and tastes like a lot of other things out there with just a different trademark character is a bore.

But the mere circumstance of complexion cannot deprive them of the character of men.

Outlets for the freed blacks are alone wanted for the erasure of the blot from our Republican character.

The political truths declared in that solemn manner acquire by degrees the character of fundamental maxims of free Government, and as they become incorporated with national sentiment, counteract the impulses of interest and passion.

Respect for character is always diminished in proportion to the number among whom the blame or praise is to be divided.

I often ask myself: "What would Theodore Roosevelt do?" One can never know, of course. The ultimate contribution of consequential leaders is often their capacity to reframe issues in novel ways. That said, his leadership engaged, at a foundational level, whether the American "national character" would accept decline and mediocrity, or would go all-in for leadership and excellence. Amid the myriad of otherwise disconnected issues before us, that choice is emerging yet again.

In the early 90s, I wrote a play called Word of Mouth in which I played a number of different characters. One was a thirteen-year-old boy who, through a series of diary entries, realizes that hes gay.

Maybe I'm perverse, but the question of "rooting" for a character, or setting out to write a character for whom other people will root, has never had anything to do with why I read or write fiction. As long as the writing and story remain alive, intense, invigorating, provoking, the characters can be as demonic or saintly as the author wants.

To me sympathy for a character has little to do with how morally upstanding or wicked they are. All that really matters for me is how human and interesting they are. I happen to be drawn to characters who operate under intense internal pressure, which often comes from some deep psychological conflict.

Leadership is character in action.

I am never disappointed in Jobe Watson ... (who) is a man of the highest integrity, highest character and a great person for our footy club ... I have no concern for Jobe.

It's definitely not the character who it is in the comics, I'll say that much.