A Quote by Bob Shacochis
You decide which characters you want and then do the best you can to bring their humanity to the forefront in the context that you place them in - the crises in which you've placed them.
Related Quotes
With all of the qualities of the scene-setting, the dialogue, the place and time and the time and place in which your characters move. And I want to move with the characters, move with them and describe the world in which they are living.
It is this language of values which I hope to bring to my books. . . . I want to bring values to those who have not been valued, and I want to etch those values in terms of the ideal. Young people need ideals which identify them, and their lives, as central . . . guideposts which tell them what they can be, should be, and indeed are.
Many novelists take well-defined, precise characters, whose stories are sometimes of mediocre interest, and place them in an important historical context, which remains secondary in spite of everything.
I don't really compare any of the characters I play; I try to go into them being very open to what the characters can offer and what I can bring to them and then bring a being to life.
'Lord of the Rings' was a set of books in which the world had been conceived before the characters were placed within that context.
You try to make them comfortable so they can do what they're best at, and make them shine. You always want to make an actor shine. I'm of the mind that there's no one - you, your mother, anyone, that if in the right place at the right time in the right context, couldn't shine in a movie. And so if it means, "Oh, I have to make them uncomfortable," then whatever it takes to get what I need up onscreen. It's all in the service of the story.
I want my characters to suggest the background in themselves, even when it is not visible. I want them to be so powerfully realized that we cannot imagine them apart from their physical and social context even when we see them in empty space.
I am not into this old-school way of doing things, where you kill characters, and you bring them back, and then you kill them again, and then you bring them back, and their deaths mean nothing.
I mean simply to say that I want my characters to suggest the background in themselves, even when it is not visible. I want them to be so powerfully realized that we cannot imagine them apart from their physical and social context even when we see them in empty space.
If I have several bad guys and I only want to end up with one of them, then I have to decide which one I want in the end. And normally it's the one who is the most interesting talker.
As far as outdoor work is concerned, a studio is only a garage; a place in which to store pictures and repair them, never a place in which to paint them.
Just to show you how little reliance can be placed even on what are supposed the best accounts of a battle, I mention that there are some circumstances mentioned in General -'s account which did not occur as he relates them. It is impossible to say when each important occurrence took place, or in what order.
We want to encourage people. We want to help them. We want them to see all the good things God has placed in them and give them a right future.
It's not good to meet you heroes. The humanity in them or the a**hole in them will bring it down. And you don't want to do that.
If the study of all these sciences which we have enumerated, should ever bring us to their mutual association and relationship, and teach us the nature of the ties which bind them together, I believe that the diligent treatment of them will forward the objects which we have in view, and that the labor, which otherwise would be fruitless, will be well bestowed.
Ultimately, if the character is interesting and you said that before: It doesn't matter if it's likable. That's really what it is. If they interest you. If the context in which the characters are set interests you then I think then you're pulled in by it.
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