A Quote by Jackie Coogan

Unless I was to play an accepted character from a novel, I won't put on a toupee. — © Jackie Coogan
Unless I was to play an accepted character from a novel, I won't put on a toupee.

Quote Author

Toupée or not toupée for professional government: that is the hair-raising question created by Donald Trump's candidacy.
There is, in fact, not much point in writing a novel unless you can show the possibility of moral transformation, or an increase in wisdom, operating in your chief character or characters. Even trashy bestsellers show people changing. When a fictional work fails to show change, when it merely indicates that human character is set, stony, unregenerable, then you are out of field of the novel and into that of the fable or the allegory. - from the introduction of the 1986 Norton edition
Put simply the novel stands between us and the hardening concept of statistical man. There is no other medium in which we can live for so long and so intimately with a character. That is the service a novel renders.
I've always been a fan of the 19th century novel, of the novel that is plotted, character-driven, and where the passage of time is almost as central to the novel as a major minor character, the passage of time and its effect on the characters in the story.
For my part, the good novel of character is the novel I can always pick up; but the good novel of incident is the novel I can never lay down.
The baseline character in a lot of Western literature is a man. So we, as women, do a lot of suspending of our disbelief to experience a novel or a play or a movie through that male character.
My first course came and I put down my book, and I just happened to put up my hand to scratch my head and discovered that my toupee had been blown by the wind and was folded over backwards on the top of my head!
An actor doesn't change thought, theme, or mood unless the character does, and the character only does it within the words of the play.
There is, in fact, not much point in writing a novel unless you can show the possibility of moral transformation, or an increase in wisdom, operating in your chief character or characters.
I don't know how to play a character unless I love him.
The biographical novel sets out to document this truth, for character is plot, character development is action, and character fulfillment is resolution.
When you play for ticket-holders, you are already validated. I have no sense that I need to be accepted. I'm already accepted.
The novel that an author writes is often not the novel that the reader reads, and most of the 'messages' in a novel are put there by the reader. There's nothing wrong with that, of course. That's how literature functions.
Anything you put in a play -- any speech -- has got to do one of two things: either define character or push the action of the play along.
I mean, every novel's a historical novel anyway. But calling something a historical novel seems to put mittens on it, right? It puts manners on it. And you don't want your novels to be mannered.
Brian is an archetypal character, a bit like Don Juan, which is how I play him. He's a blast to play. He believes unapologetically in his freedom. He holds nothing back. Something I'm learning is, you can't hate the character you play. If I think my character is an asshole, that's all that will come across. He is drawn in an extreme way, but that doesn't mean he's not a person.
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