A Quote by Jim Henson
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.
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The reader has information about the characters that the characters themselves don't have. We all have our secret sides. Even I come to understand things about the characters only through the writing process, as I am going along.
What's actually amazing is that, after a couple of years of living with characters and writing characters and talking about characters, as we sit in the writers room and break episodes, it strikes you, every once in awhile, that you're talking about a character that's played by the same actor, who you've been talking about forever. We talk about a character dying, so you get emotional, and then you realize, "Oh, but wait, that actor is still on the show."
The funniest things just come from honesty. We have a tendency to see female characters as representative of something larger than what they are, when male characters are just characters.
The American horror movies are more moralistic, they have not only good characters, but characters where the ultimate danger is death. What I like about European cinema is they have another sense of what's good, what's bad, and sometimes all the characters are far more complex than just that. It's less binary, the Giallo genre.
There is something really so iconic about the original Predator, and it is exciting. It's not just special effects. It's not like you bring a puppet in, these are characters and so we were involved in developing the look and the attitude of all the characters.
Make sure your characters are worth spending ten hours with. That’s how long it takes to read a book. Reading a book is like being trapped in a room for ten hours with those characters. Think of your main characters as dinner guests. Would your friends want to spend ten hours with the characters you’ve created? Your characters can be loveable, or they can be evil, but they’d better be compelling. If not, your reader will be bored and leave.
It's funny what [producer Richard Zanuck said about even though you can't quite place when the book or the story came into your life, and I do vaguely remember roughly five years old reading versions of Alice in Wonderland, but the thing is the characters. You always know the characters. Everyone knows the characters and they're very well-defined characters, which I always thought was fascinating. Most people who haven't read the book definitely know the characters and reference them.
I love flawed characters, male or female, and I only want to talk about flawed characters, really, in what I do.
My characters surprise me constantly. My characters are like my friends - I can give them advice, but they don't have to take it. If your characters are real, then they surprise you, just like real people.
My characters surprise me constantly. My characters are like my friends - I can give them advice, but they don't have to take it. If your characters are real, then they surprise you, just like real people
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.
I think it's very hard to talk about these characters in a closed-ended, sort of non-sequel way, especially characters like The Flash and Green Lantern, which have such rich, long histories.
People like stories that are bigger than life, about characters with unusual powers. And when you get all the characters in the zodiac, it's so colorful, and it's so rich in different attitudes that the characters have.
For the most part, my characters don't talk to me. I like to lord over them like some kind of benevolent deity. And, for the most part, my characters go along with it. I write intense character sketches and long, play-like conversations between me and them, but they stay out of the book writing itself.
The nature of acting is that one is many characters and jumps from one skin to another as a way of life. Sometimes it's hard to know exactly what all of your characters think at the same time. Sometimes one of my characters overrules one of my other characters. I'm trying to get them all to harmonize. It's a hell of a job. It's like driving a coach.
Anytime I feel like I am beginning to explain the plot or characters too much my stomach churns. I like stories that let the characters speak for themselves and don't give you all the information.
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