Character Quotes - Page 541

My stuff is generally quite collage-y anyway. So it's sort-of suited to gathering raw materials like shooting actors, then making stills or animating characters, then just bringing them all together in a 3D space. That process is very close to my 2D work anyway.

I still do miss the freedom to play any kind of character I wanted to play.

You're breaking out of character, again.

I love playing different characters. I just do. I want to play even more quirky and interesting characters and just something that people wouldn't automatically think that I would be. I want to go against the grain a bit and I'm hoping people will be open-minded enough to cast me in stuff that's going against the grain.

With a novel, you have the reader with you a lot longer, and you owe him a lot more. Obviously you have to have a plot - I say "obviously," although I think a lot of fiction doesn't, and nothing seems to happen. But to me, there should be something that happens, and it should be at least vaguely plausible. And because the readers are going to be with these characters for a long time, you have to get to know them and like them and want to know what happens to them.

Most TV shows are about strong characters and strong actors, and we certainly have those.

Humans elect leaders on the basis of the promises they make. We [vampires] try to elect ours based solely on the strength of their character.

I've been lucky enough to work with the amazing Golden Globe Award winning Chris Colfer and that is fantastic. I get to work with him on a day-to-day basis and he is such a generous talent. Chris and I like to play. He always throws me things and I ping them back to him and it's really fun. We definitely have a very lovely rapport personally - I think on screen too - and I hope you can see that in the characters.

A character is as much about what you do as what you say.

My hope is that I'm going to continue to make more and more challenging work that's going to come out more and more interesting. I don't know if that will always continue to happen, but every one of my films has definitely been a progression as far as complexity of narrative, character, and plot.

That is another reason this transition for me into soaps makes sense for me, because I would get to work at my craft every day. I would be able to play this very real character.

I think it's a wonderful thing to have African-American characters. Look at life. It's not a white world or a black world; there are all kind of people in it. It's showing growth, and in today's world there are so many outlets.

Fear has disappeared. No more fear. In Asia, it is different. They've discovered again the fear and the psychology of the characters. Without psychology, the horror film doesn't exist.

I definitely feel like when I write a book it's not my job to police or guide the readers. The book and the characters don't belong to me anymore. If that makes sense.

My job is to focus on bringing characters to life in an honest and personal way.

In New York, I much prefer playing older because as characters get older, they get more interesting.

I don't think there's a way to replace Stabler. The most I could hope for is to come and try and develop a character who is interesting, who is interesting to me, who is interesting to fans and who could contribute to the storytelling that is 'Law & Order: SVU.'

I remember when Langston Hughes used to write a column in black newspapers around this character Jesse B. Semple. He always used that as a voice, sometimes in comic ways, of having everyday people's voice come through this common folk hero, who was an ordinary working guy. He would talk about anything from police brutality to the Korean War. Those kinds of expression and identification are no longer prevalent in our popular culture.

Clearly, you can think back and see that a character has had enormous odds stacked against him and has to overcome them. It's usually a guy, I'm afraid. But then you're setting up a new movie you have amnesia about these meetings, when you've discussed it more analytically.

Once, a French journalist told me that all my films are the same. I said, 'Excuse me? I work hard to make them different.' What she meant was that in my films there is a character that faces insurmountable odds, and they overcome them. But I thought that might be true, but you need certain factors for drama, and you need to overcome them.

I haven't got anything against films that are about the minutia of relationships or customs, but I love extremes. I love taking a bunch of characters and it usually is a bunch of characters, and you throw something at them that's usually extreme, like a bag of money, or you send them out to explode a nuclear device on the surface of the sun. And those extremes are wonderful for drama.

I believe a good memoir should have all of the narrative elements of a novel: character development, dialogue, descriptive language, and metaphor.

In terms of style, I think the memoirist should have a novelist's skill and all the elements of a novelist's toolbox. When I read a memoir, I want to really, deeply experience what the author experienced. I want to see the characters and hear the way they speak and understand how they think. And so in that way, writing a memoir feels similar to writing a novel.

A book begins with an image or character or situation that I care about deeply.

By sharing an experience, or creating an experience that we all go through where the character survives - though not easily, I always say that it's victory at a price - does give people hope.