Character Quotes - Page 522

I always let the characters guide the stories. They really let me know what they want to say and what action they want to happen.

I feel lucky that Viceland wanted to make it, and I'm producing more than one film with LGBT characters and stories and it's because it's what I'm interested in. I'm not going to read a script and say, 'They're not gay, I'm not going to do it,' but I am interested in playing more gay people, because I've only played one gay person, and I've done a fair amount of movies, and I am interested in those stories. So for me, there's no should-I-or-shouldn't-I. It all feels natural.

No matter what character your play. I feel like whenever anyone is honest and whole and well-written, you're going to be able to connect to that person because we're all kinda made up of the same stuff and I think that's always one of the really powerful things about approaching each individual character and role and film.

I don't care if people like my character. I just want them to think about the movie's message.

Authors have to write for their characters, for who they are, that's the strength of books. Don't worry about censors. Just write the story you need to tell and the rewards will come.

... in the nineteen-thirties ... the most casual reader of murder mysteries could infallibly detect the villain, as soon as there entered a character who had recently washed his neck and did not commit mayhem on the English language.

I would write of the universal, not the provincial, in human nature.... I would write of characters, not of characteristics.

Some celebrities, it's interesting, because they're fantastic playing a character when somebody is writing the lines for them, and they're amazing actors, but they're not as comfortable on television in front of a live audience and just having a conversation and being themselves.

When I decided to have my character on the show come out, I knew I was going to have to come out, too. I never wanted to be the lesbian actress. I never wanted to be the spokesperson for the gay community. Ever. I did it for my own truth.

Bob Duvall is a great actor because each time out, he creates a whole, complete character. You have the feeling that you're not seeing an actor at all, but a fully realized human being. Think of how he was in The Godfather. If you didn't know Bobby, you'd think that he really was Tom, the consigliere. Then you see him in Santini, and he's completely different. He's not only a personality, he's a consummate actor.

... it is always the men we won't allow to make love to us, who take our characters away.

I'm Method trained. How is this character like me? What does she think of her mother? What does her mother think of her? It's like construction, and then, yes, you hope you're talented and that the universe aligns and captures the kind of laborer's work you've done and whatever else sprinkles down on you, and it's all caught on film or onstage.

For 15 years, I've been playing the same character - which is myself - and I'm bored with 'myself'.

I was kind of scared at first to do that [vice-over] because when you're on set, a lot of the things going on around you - the environment and playing off other actors - and that's what makes it easier and helps you to be in your character. So, realizing you're not going to have that and you're going to be secluded in this booth, it's like, "How am I going to be a character when I'm just in these walls?"

I always try to do something very different with each character because that's why I like to do this, because I can become someone else completely and it's fun.

No fate could rob us of our own-- No circumstance can make it less; What time removes was but a loan, For what was ours we still possess.

I think that what I do is a form of pathetic fallacy, the literary trope in which nature is in sympathy with the mood of the story. I connect the physical setting and props in the story to the emotional state of the characters.

Many in Hollywood viewed the public persona of the young Debbie Reynolds as demure and vulnerable to be a complete facade. Pianist Oscar Levant once quipped, "She's as wistful as an iron factory."

I once had an editor advise me, as I was revising one of my early novels, to add more characters. I played around with the idea. As soon as I'd decided a few fresh faces and give them something to do, I realized that what my editor had really asked for was more plot. Ding. More characters equals more action.

Having to struggle gave me the chance to demonstrate strength of character.

Part of being an actor is being able to contribute to a character's rhythms. If there's room to explore, you find a happy medium. We almost always get it as written, and then, we throw some improvs in or some alternatives.

The funniest things just come from honesty. We have a tendency to see female characters as representative of something larger than what they are, when male characters are just characters.

Dysfunctional co-dependent relationships always appeal to me. I don't know exactly how it started. I start writing sketches of characters and little scene-lets, and then it builds.

In a show that has so many neurotic, broken beta characters, it's always fun to bring in a character who's really confident in themselves.

Poignant, earthy, intensely human, Letters From A Stranger is a love story that is as unusual and courageous as its characters.