A Quote by David Corbett

Characterization requires a constant back-and-forth between the exterior events of the story and the inner life of the character. — © David Corbett
Characterization requires a constant back-and-forth between the exterior events of the story and the inner life of the character.
The state of love is this constant flux back and forth between who's saving and who's rescuing, who's wanting and not wanting, who's needing and who isn't. It's always going back and forth between two people who are actually attached.
Admixing the inner space of dream, trance, and myth with the events of everyday existence characterized every belief system worldwide before the Greeks.....time meandered back and forth between reality and myth.
If you want to paint the inner life, you paint it from the exterior. From the exterior, you breathe the inner life into your painting.
Within a single scene, it seems to be unwise to have access to the inner reflections of more than one character. The reader generally needs a single character as the means of perception, as the character to whom the events are happening, as the character with whom he is to empathize in order to have the events of the writing happen to him.
There's a constant dialogue going back and forth between the filmmakers and the producers.
The tightrope of love swings back and forth, forever tied between the tree of anxiety and the tree of fear. Like life, it holds a constant reminder that death must be overcome.
Characterization is not divorced from plot, not a coat of paint you slap on after the structure of events is already built. Rather characterization is inseparable from plot.
Life as a Divine Creator is effortless. You don't have to do things to make them happen; you call forth people, situations, and events from an inner decision of being.
Writing is always a process of discovery—I never know the end, or even the events on the next page, until they happen. There’s a constant interplay between the imagining and shaping of the story.
Life is a constant back-and-forth. We take a breath in and then we breathe out. The same is true for the culture as a whole.
What I've learned in my life, it's a very interesting social study for me, to go back and forth between being the guy at home and being the guy on the road and being the guy in studio and being the guy in the interview. The environment around you has so much to do with your character, and when I'm home, my character really changes quite a bit.
Between New York and L.A., and all of us who are actors, I feel like we're just one big, cast repertory company, all running back and forth between the coasts and between different shows. There is a wealth of great character actors, who show up, here and there, on different shows. I love the fact that we're allowed to do that.
Spiritual growth requires the development of inner knowing and inner authority. It requires the heart, not the intellect.
If I love the character and if I love the story, and the character requires me to be shirtless, or if it requires me to lose 30 pounds, I'm ready to do it.
If the point of life is the same as the point of a story, the point of life is character transformation. If I got any comfort as I set out on my first story, it was that in nearly every story, the protagonist is transformed. He's a jerk at the beginning and nice at the end, or a coward at the beginning and brave at the end. If the character doesn't change, the story hasn't happened yet. And if story is derived from real life, if story is just condensed version of life then life itself may be designed to change us so that we evolve from one kind of person to another.
It's all about creating a back story for the character and developing emotional responses that are true to life in relation to the character. It isn't necessary to live a tragic life to create from that place.
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