Character Quotes - Page 491

I like when people question if the characters are really villains or protagonists. These types are very interesting to write about.

Futurists are already predicting the day mankind builds its replacement, Artificial Intelligence. Daniel Wilson shows what might happen when that computer realizes its creators are no longer needed. Lean prose, great characters, and almost unbearable tension ensure that Robopocalypse is going to be a blockbuster. Once started I defy anyone to put it down.

I can't really recreate or reconstruct exactly how or from where any of my characters originate, young or old, though chances are at least decent that once I name and begin to know them, young or old, I can then attempt to reveal each as psychologically complex and nuanced, and to speak through them, as William Matthews says, "What it feels like to be human."

Jose Ortega y Gasset says, "Tell me the landscape in which you live, and I will tell you who you are." Asserting that character/community is formed, at least in part, by the physical landscape in which he/she resides. And this is underscored by the fact - and not all that long ago - that people and place were, in fact, synonymous: Sapho of Lesbos, for example. Or my middle namesake, Saint Francis of Assisi. Jesus of Nazareth.

Compassion is the belief that things might improve, and even when there's little, if anything, to sustain and engender that belief. It's the place from which I write, and the more troubled the circumstances, the deeper into the hearts and psyches of these characters I'm likely to go, opening every door in that dark hallway, and walking all the way in.

I prefer drama; I think character-driven drama is my favorite kind of stuff to go watch, and I like being challenged by that kind of stuff in that way.

No [movie is really worth watching] which does not either impart valuable knowledge; or set before us some ideal of beauty, strength, or nobility of character. There are enough [great movies] to occupy us during all our short and busy years. If we are wise, we will resolutely avoid all but the richest and the best.

In my work I try to get things right, to do it well, and if there are specific skills involved - like in a case conducting or playing the piano, or in this film I have coming up where I play a character who is German - I'm very meticulous about learning accents and dialects and those kinds of things. That's probably the closest I come to being a perfectionist.

It's so funny because, when the other world was being hatched and conceived, I just kept hearing, "Don't do that! That's a huge mistake! People love your characters. Why go to these new ones?" And I was like, "No, we can do this! I'm invested. Why wouldn't they be?"

I want to feel that my characters evolved into a place that they deserved, that was sometimes unexpected, but where I would feel satiated that logically they have come to a conclusion that makes me feel satisfied.

My favorite novels allow me to imagine the characters afterward and what happened, and that I've witnessed a really great story, where the world goes on.

Intolerance of dissent is a well-noted feature of the American national character.

Tim [Omundson] is just so wonderfully delicious. He has the sexiest beard on television. He's such a fabulous actor, and a great character.

The real long term objective of the Welfare Plan is the fulfilling of character in the members of the Church, givers and receivers, rescuing all that is finest down deep inside of them, and bringing to flower and fruitage the latent richness of the Spirit, which, after all, is the mission and purpose and reason for being of this Church.

Coming from TV and film, rule number one is that you always service the main character first and foremost. If that's not working, you've got nothing.

When writers don't know what to do with a character, they build up the supporting cast and universe to kind of hide that fact. After a while, you can no longer see the character for the underbrush. When that happens, you need to bring out the weed-whacker to clear some of that away so you can focus on the main character.

The only thing that I discovered very early on is that, even though we might change schools and cities and towns and states, the books in the library were the same. They had the same covers. They had the same characters. I could go and visit those people in the library as if I knew them.

I keep waiting for a paradigm shift to happen that will let network and studio execs see that sci-fi is the same as any other genre in terms of how you approach it - logically, character-based, with challenging ideas and forward thinking - but I worry that it might never happen in my lifetime.

I can easily come up with ten really iconic stories/trade paperbacks for Superman, Batman, others... name me ten equally big, iconic Wonder Woman stories. Much harder. That ain't the character's fault, that isn't sexism, that's just not servicing the character.

All you can do is focus on telling the best story you can with compelling characters. If you do it right, it will endure. If you do it wrong, it won't.

When the Seinfeld show said it was going to be a show about nothing, everybody said it couldn't - wouldn't work. It did. Thor is about something, about that character finding his destiny, but it's not doing what was expected... and yet it's doing very well.

I'm sorry, but anyone who thinks the use of an angelic (or seemingly angelic character), whose likes have been written about for, oh, about 4,000 years, is ripping off Star Trek, has his head so thoroughly up his ass as to have blipped into an entirely new intestinally-based reality and desperately needs to get a wider frame of reference.

The whole point of having great characters is the opportunity to explore them more deeply with time, re-interpreting them for each new age.

If there is a connection between Harry Potter and my new novel, it's my interest in characters.

I love inventing names, but I also collect unusual names, so that I can look through my notebook and choose one that suits a new character.