A Quote by Amitava Kumar

I identify in some measure with each of my characters. — © Amitava Kumar
I identify in some measure with each of my characters.
I could characterize nearly any spiritual practice as simply this: identify and quit, identify and quit, identify and quit. Identify the myriad forms of limitation and delusion we place upon ourselves, and muster the courage to quit each one. Little by little, deep inside us, the diamond shines, the eyes open, the dawn rises, we become what we already are.
I think you can do science fiction, but you have to ground it in some realism. People need to identify with the characters, with their plights and their issues.
I think that in some ways 'Climax' is easier to digest than my other movies because the characters are easier to identify with. You love them because they're young, they're great dancers, they're beautiful, and they are willing to construct something. They're not losers like most of the characters of my previous movies.
The saying of Protagoras is like the views we have mentioned; he said that man is the measure of all things, meaning simply that that which seems to each man assuredly is. If this is so, it follows that the same thing both is and is not, and is bad and good, and that the contents of all other opposite statements are true, because often a particular thing appears beautiful to some and ugly to others, and that which appears to each man is the measure
You want to feel that your reader does identify with the characters so that there's a real entry into the story - that some quality speaks to the individual.
If we're able to identify our own ignorance, we can identify someone else's expertise. We learn how to listen to each other. And that is the foundation of human understanding.
I definitely identify with female leads more; I identify with real female leads, people who are flawed and have issues and make mistakes, so that the characters represent what I'm about.
In 'Before and After,' I identify the sixteen strategies that we can use to make or break our habits. Some are quite familiar, such as 'Monitoring,' 'Scheduling,' and 'Convenience.' Some took me a lot of effort to identify, such as 'Thinking,' 'Identity,' and 'Clarity.'
It is with some violation of the imagination that we conceive of an actor belonging to the relations of private life, so closely do we identify these persons in our mind with the characters which they assume upon the stage.
People relate to my characters and see me in a different way. They identify with me and remember the nuances of my characters.
Memory is each man's own last measure, and for some, the only achievement.
About half the scripts sent to me feature characters I just can't identify with, particularly one-dimensional businessmen or, if it's a comedy, some absurd 10-year-old Japanese stereotype, some role related to IT or business... There's no point in getting mad about it; it's just the way things are.
I tend to enjoy roles that I very closely identify with: fringe people and complicated characters, who might even be bad guys, or bad characters that have one redeeming quality.
We're always attracted to characters who are people we could identify with and yet are put through incredibly tortured or difficult circumstances - the idea being that you don't really know who you are until you've been tested or suffered in some way.
I think everybody wants to feel validated in some way, and when you're looking for leisure activities or if you're looking for escapism or things like that, you want to read about characters you can identify with.
When I go to the movies, I'm expected to identify with all of the characters, and most of them are white. But when you put a black character in there, somehow the white audience isn't expected to identify with them. That's a problem.
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