A Quote by Akira Toriyama

I'm not very good at depicting the characters' psychology on the page. — © Akira Toriyama
I'm not very good at depicting the characters' psychology on the page.
Whatever's good about your book should be good on page 1, or very few editors are going to get to page 2.
It's nuts that we've reached a situation where representing female characters - let alone minorities - is considered "social responsibility" and not, you know, depicting half the world's population. I often feel like the gaming audience is so much more diverse than the characters represented in the games that they play.
I am embarrassed to admit what drew me to psychology. I didn't want to go to medical school. I was getting good grades in psychology and I was charismatic and people in the psychology department liked me. It was as low a level as that.
Everything 'Atonement' does, it does incredibly well, including depicting characters of varying ages and temperaments and showing the intensity of early romantic love and connection and the very different intensity of haunting regret.
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.
Characters for me are born on page one and they die on page 100.
In 6,000 years of storytelling, [people have] gone from depicting hunting on cave walls to depicting Shakespeare on Facebook walls.
I'm very drawn to characters who are very flawed. I'm less interested in characters who are just good or bad, because to me then they're not real people.
The definition of a page-turner really aught to be that this page is so good, you can't bear to leave it behind, but then the next page is there and it might be just as amazing as this one.
No very sharp line can be drawn between social psychology and individual psychology.
But, how do you know if an ending is truly good for the characters unless you've traveled with them through every page?
I loved the tone and the characters. They're all very different and they're all very typical for their time. When you read the screenplay you feel like meeting them and getting them off the page and on to the screen.
For me a page of good prose is where one hears the rain. A page of good prose is when one hears the noise of battle.... A page of good prose seems to me the most serious dialogue that well-informed and intelligent men and women carry on today in their endeavor to make sure that the fires of this planet burn peaceably.
If it bothers me on the page, I don't do it. If it attracts me on the page and moves me, makes me think a bit, makes me laugh, makes me cry, I'm interested in it. If it's there on the page, it means it's there and up to me to bring it out. I have done some films along the way that have been screwed up and not as good as they read. Some films that are not that good on the page turn into good movies. So I'm fallible is what I'm saying.
ACT psychology is a psychology of the normal. A lot of the psychologies that are out there are built on the psychology of the abnormal. We have all these syndromal boxes that we can put people in and so forth. The actual evidence on syndromes is not very good. There's no specific biological marker for any of the things that you see talked about in the media. Even things like schizophrenia - there's no specific and sensitive biological markers for these things. There may be some abnormal processes involved, but vastly more of human suffering comes from normal processes that run away from us.
I take all my characters very seriously - the main, secondary, and supporting characters. Even if they only appear once, they still need to have their own life. Some characters are absent literally but at the same time very, very present.
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