A Quote by Gilbert Hernandez

I've sort of dealt with the characters' lives more; particularly the women characters. — © Gilbert Hernandez
I've sort of dealt with the characters' lives more; particularly the women characters.
For whatever reason, gay characters, or characters that deal with sexuality issues, who are black, in 'black films'... are typically not dealt with with any sort of complexity. They're exoticized: their being gay is sort of the point.
Male playwrights, on the whole, are probably more interested in male characters. They need women characters to be the women in their lives or to be the domestic difficulty.
It's a funny show. The characters are surprisingly likable, given how ugly they are. We've got this huge cast of characters that we can move around. And over the last few seasons, we've explored some of the secondary characters' personal lives a bit more.
In my own work, I don't have favorite characters, but I have characters that I relate to the most. And I relate the most to Simon from 'The Mortal Instruments,' and also Tessa from 'The Infernal Devices.' They're more sort of bookish and shy characters.
I'm always trying to get my characters to the point of complete rebelliousness. I like that attitude that characters feel when they own their lives. There's something beautiful in the moments when characters disobey.
When it comes to writing characters, whether men or women, I think a good writer writes good characters. I know many men who, for years, have written strong, progressive women characters.
Part of the success of the show is that the audience sees themselves in the characters, becomes the characters. The more they inhabit the characters, the more they see
Part of the success of the show is that the audience sees themselves in the characters, becomes the characters. The more they inhabit the characters, the more they see.
I believe that if the story is fleshed out and the characters more believable, the reader is more likely to take the journey with them. In addition, the plot can be more complex. My characters are very real to me, and I want each of my characters to be different.
It's necessary to track characters all the way through an opera. If you're dealing with more than one or two characters, it's very easy to forget that the others have lives of their own that feed into the story.
But actually making pictures to look like my pictures, I've done it for so long, I'm kind of used to it now. So at the beginning of the process, designing and storyboarding everything, I sort of did all that. And then designed the characters, and doing the textures for the characters, and the texture maps to cover all the animated characters and the sets, I did those, because that's where my sort of coloring and textures get imprinted on the film.
I'm an actor. I have to play weird characters, quirky characters, strange characters, sometimes characters I don't understand.
Actually the copies of characters is something I don't particularly like to talk about in articles but just for your information, most characters there's only one.
I think that's the kind of women that people are interested in. They're interested in strong women characters who are stronger than the male characters sometimes, in some ways. That's what's interesting and attractive about women.
I suppose I'm always looking for a sort of acuity of perception either in my characters or about my characters.
I feel that the thing about film and particularly about TV, actually, is it's being created now. We're living in the best time so far because there are many more women writing and women directing, women producing, and people are finally catching on to the fact that women want to go and buy tickets to see female characters and more than one in a film. So I actually think it's a very fertile time to be a woman over 40.
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