A Quote by John Hartford

You read about somebody, and it doesn't really matter whether or not they really exist - the point is that you get into them like real characters. — © John Hartford
You read about somebody, and it doesn't really matter whether or not they really exist - the point is that you get into them like real characters.
You read about somebody, and doesn't really matter whether or not they really exist - the point is that you get into them like real characters.
I like characters. I like spirited characters whether they exist in fiction or real life. Whether they're the invention of artistic people or directors, musicians. I think music and art and fashion designers inspire me and I like characters.
There are characters in movies who I call 'film characters.' They don't exist in real life. They exist to play out a scenario. They can be in fantastic films, but they are not real characters; what happens to them is not lifelike.
I like bringing little subtle complexities to a character. It's all about the subtext. No one can really describe or fully know another human being, even if they get a hook on them. It's more about instinctively knowing whether you like somebody or not.
Most actors have to sit by the phone and wait for somebody to call them up to audition and stuff. I don't think I can exist in Hollywood just on that. I think I need to be proactive and making sure that things I really want to do are being developed to the point where somebody wants to make them?
There is nothing -- absolutely nothing -- half so much worth doing as simply messing about in boats. In or out of 'em, it doesn't matter. Nothing seems really to matter, that's the charm of it. Whether you get away, or whether you don't; whether you arrive at your destination or whether you reach somewhere else, or whether you never get anywhere at all, you're always busy, and you never do anything in particular; and when you've done it there's always something else to do, and you can do it if you like, but you'd much better not.
I try to be true to the characters that I've created and sometimes I disagree with them, but their opinions about the story and the characters really matter to me.
Either you like a person or you don't like a person. I don't have to love somebody to work with them. I'm a professional person. But when you get the bonus of really liking someone and really connecting with them and really enjoying them, it's a fantastic thing.
And it's one more shitty thing to write about somebody, in between getting really, really, really upset at female Ghostbusters and Gamergate, and the things that really matter.
The [Iranian] government grapples with more important issues and we can maybe say that these films don't really exist for them. It's not about whether they like it or don't; it's just not very important to them.
No one really knows what I'm really like, and you won't unless you spend a day with me, or if you're my friend. No one ever knows what anyone is really like. Read all the interviews you want on them, it's just the media talking and you can't really get to know someone that way, obviously.
Young people, our rights and the things we care about, have been taken away because it doesn't really matter to the politicians whether or not we have them. We're just another demographic to try and please, but there's no point if we aren't voting.
I'm not a huge social media kind of guy, so I don't really know, I don't really ever get... at least in real life, I really don't get recognized. I think people seem to find it very difficult to connect me to characters I've played.
I don't care whether I really exist or don't, whether I'm real or fictional. What I want right now is to be the person who decides my own fate.
Sometimes I sit in my den at home and read stories about myself. Kids used to save whole scrapbooks on me. They get tired of them and mail them to me. I'll go in there and read them, and you know what? They might as well be about (Stan) Musial and (Joe) DiMaggio, it's like reading about somebody else.
Language is always evolving. It's difficult to read Shakespeare now because language has shifted. Similarly, kids these days can get to the point really quick in about 140 characters or less because of these new tools.
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