A Quote by Jeanette Winterson
A character has a distinctive voice - you should be able to hear them in your head and conduct a conversation with them while you're out walking. If the answers surprise you, you know it's the character speaking and not you.
Related Quotes
It's a little weird accepting your voice coming out of an animated character. You don't buy it at first because it's your voice and none of us like our voices when we hear them recorded back.
To point out the importance of circumspection in your conduct, it may be proper to observe that a good moral character is the first essential in a man, and that the habits contracted at your age are generally indelible, and your conduct here may stamp your character through life. It is therefore highly important that you should endeavor not only to be learned but virtuous.
To choose the ideal voice for a character is to give a character an ardent and vivid life, to allow him or her to speak, rather than speaking for them, in an older style of omniscient narration.
There have been times I thought that when I got a certain point in the story, a certain character was going to do a certain thing, only to get to that point and have the character make clear that he or she doesn't want to do that at all. That long phone conversation I thought the character was going to have? He hangs up the phone before the other person answers, and twenty pages of dialog I had half written in my head go out the window.
The ability to get inside your character's head in a graphic novel is really fun and useful because one, you can really define the character's voice and two, it's a way easier way to convey what the character's thinking by actually laying out what he's thinking.
Somehow we have to be able to indicate to our audience that we know how frustrating it is when the answers they are hearing are necessarily the answers that the person speaking them believes.
Sometimes I'll get a premise, you know, for a book. In fact, I get those quite often. And I don't commit to it until I really know the voice of that character. It's almost as if the character is speaking to me.
I love it and it is a blessing to be able to have seventy-five to eighty episodes to develop a character and find your voice. You have a similar through voice, and yet you are making different decisions, and so you act differently and you make different choices, as that is what your character would do.
As a parent, you have to figure out how to shape your kid's character. You want to have human beings who learn about good character. You have to be able to see your child with clarity, see the good side and the bad side of them, and work on the bad side and make them better so they fulfill their potential.
I don't really try to judge any character that I play, afterwards I figure it out, but while I'm working on the character, I have to find something in them to relate to.
When I was acting, I got trained in creating a character as a three-dimensional person. If you're doing it right you should be able to draw an audience into the character's world and make them feel their fears.
I fell in love with the classical crossover genre when I was on AGT. I found out that I could use the microphone to establish a deeper intimacy with the audience. I did not portray an opera character; I was my true self. I would sing a four-to-five minute piece for the audience and then I could talk to them and say "Hi" to them! I would not need to act out scenes where my character was dying from tuberculosis or killing somebody else on stage, I could have a nice conversation with them.
We should be able to have a conversation about immigration; we should be able to have a conversation about what skills we want to have in the U.K. and whether we need to go out of the U.K. in order to get them to boost our economy, and I don't think we should have a situation where we can't talk about it.
If you think of the people who are funny in your life, you'll note it's not because they tell jokes, it's because of their character. If you develop characters, then you'll know them, and you'll know how they'll speak. The comedy will come out of the character.
When you are writing, you have to love all your characters. If you're writing something from a minor character's point of view, you really need to stop and say the purpose of this character isn't to be somebody's sidekick or to come in and put the horse in the stable. The purpose of this character is you're getting a little window into that character's life and that character's day. You have to write them as if they're not a minor character, because they do have their own things going on.
Whether I was a character in WCW, WWE or The Longest Yard, you want to be able to - the best part about myself is that I have a very wide range of emotions in that one second I can be speaking on Capital Hill about dog fighting and giving them a voice, which they can't obviously speak for themselves.
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