Character Quotes - Page 532

If we hear, in our inner ear, a voice saying we are failures, we are losers, we will never amount to anything, this is the voice of Satan trying to convince the bride that the groom does not love her. This is not the voice of God. God woos us with kindness. He changes out of character with the passion of his love.

Once he became a series character, I made the conscious choice that he would never act like a series character, never wink at the reader, never pull his punches. Better for him, better for me.

The other thing that I got back then - the Parker novels have never had much of anything to do with race. There have been a few black characters here and there, but the first batch of books back then, I got a lot of letters from urban black guys in their 20s, 30s, 40s. What were they seeing that they were reacting to? And I think I finally figured it out - at that time, they were guys who felt very excluded from society, that they had been rejected by the greater American world.

My characters are always utterly sympathetic to me.

I like that kind of stuff. I like doing speeches. I've been lucky because I've had a lot of characters, over the years, who will have three or four page speeches.

It's important to me that the reader goes on a ride with the characters, that you set context enough to know, "Okay, here's where we are in the world. Now we're just going to go inside this person's head, this guy's heart, this woman's ambitions and take it down to very, very small scale."

The devil's in the details. The way I view my job is to bring the reader into a world they otherwise could not enter and let them see it through the character's eyes. And you can only do that with detail. The details make the characters distinct from one another. If you can give them those little grace notes, those little touches, that's what makes the reader relate.

If you focus on the humanity of your stories, your characters, then the horror will be stronger, scarier. Without the humanity, the horror becomes nothing more than a tawdry parlor trick. All flash and no magic, and worst of all, no heart.

Love it when a compelling new character kicks open your mental door, tracks mud across your brain, and props their feet up on your cerebrum.

The design is a really flat primary color with all sorts of abstract geometric shapes, just implying something. And then you'd have your characters running from something with guns. It was very expressionistic.

I do think that in the near future, if it hasn't happened already, people will be able to use technology to design their own novels, perhaps with individuals themselves as the main character. In other words, everything is being individualized and narrowed.

I had the good fortune early on to cast some really great people that were not just characters, they had character.

We're always trailing, as far as the amount of roles that are written for us and the films that are being made that have black characters in them. I don't know if that's going to change.

Basically the children who watch it just see the little characters they love, and so they're not discerning about whether it looks great or it's a great story or anything.

The most fun part for an actor is the writing and the story and the character. That's very fulfilling.

My job is to try and present the most fully-rounded character that I can, and bring a performance that people believe in.

I think if you've held onto a character for several years and then you're getting rid of that character, it's going to be traumatic.

One of my jobs as an actor, regardless of who I play - even if I'm playing a despicable character - is to make people think that that character could exist, that he's real, and the way to do that is to make him believable. He doesn't have to be likable or charming, but he just has to be believable. That is someone who I could see on a bus. That is someone who I could walk past in the street.

There are probably only a certain number of people who can understand or tolerate how long a job will take and what demands it puts on you. And why should they? It breeds a strange kind of selfishness immersing yourself in a character for so long.

I had to audition for the part of Jnior, and I wanted the role terribly because I knew it was a great character. This guy is a wonderful, funny, mean old guy.

The acting style that has emerged from HD, because of the contrast and how sharp the picture is, it's more neutrally played. The main character is very minamalistic. That's what works in this digital age.

Unless you're playing a real character based on a real person, if someone else has done it before, you're probably better off not watching it as an actor. Otherwise you end up trying to copy someone else.

When you're directing you're kind of interested in the movie and the story and the characters. I just sort of prefer the really tough fighting and some of the other street fighting type moves. You know, where it's not just show. It's not dressing it up for the cameras too much. It's pretty down and dirty, the way it should be. That's something I like to do. I do that.

Kristina [Klebe] plays her character [in Don't Kill It] pretty straight, and because my character's so crazy and colorful, it works quite well. Kristina really loved the part, so she was very accommodating and willing to explore it and work hard.

You really have to work hard to create a three-dimensional character. You have to rehearse and explore and take your time. You can't just memorize your lines and do it on the fly.