A Quote by Luigi Pirandello

I am an "unrealized" character, dramatically speaking. — © Luigi Pirandello
I am an "unrealized" character, dramatically speaking.
"When I speak of love I am not speaking of some sentimental and weak response. I am not speaking of that force which is just emotional bosh. I am speaking of that force which all of the great religions have seen as the supreme unifying principle of life. Love is somehow the key that unlocks the door which leads to ultimate reality."
One concept corrupts and confuses the others. I am not speaking of the Evil whose limited sphere is ethics; I am speaking of the infinite.
I wish I was more like my character. In character, I am the queen. I am strong. I am confident, sometimes cocky. I'm hard to beat. Out of character, I am a daughter, a sister, an aunt, a best friend and just the girl next door that likes Ben & Jerry's ice cream.
It's really an organic sort of process. You start off with the character on the page. You fall in love with that character and you have to represent that character well and I think it's just an evolution there. Using the accent and speaking the lines with the accent in fact opens the door to who the character really is.
You do not characterize by telling the reader about the character. You do it by showing the character thinking, speaking and acting in a characteristic way. You simply show it and shut up.
Laptop computers dramatically increased the time people spend doing work. (The internet dramatically decreased it, so we're even).
The TED talk I gave, that gave me another character I didn't know about. I'm not saying the mind of a hero, but a kind of responsibility. Every word I'm speaking, it's not from myself. I'm speaking for and representing the people of communist North Korea.
I find that, for me, it is this concept of borrowed or built life, life on loan, that gets me writing. It's similar to speaking about literature. I like it, and then I don't like it. It has such an inherent vein of pretention, because you're not speaking about real things. There's a literary pretentiousness made of speaking and spending so much time on unreal persons. And it seems, now, impossible to create an unpretentious, totally organic character.
In 'Out of the Dark,' I'm talking about my own life. I'm not talking as a character or speaking as a character. I was not as free as when I write fiction.
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.
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.
People in Seattle and Tacoma know who I am as a person, and I don't think I am a character risk or have a character issue at all.
So much of it is the design of the shot or the motion of the character; it's the work you do so that it has the same things that are in the movie. In just a few frames it's got to communicate something clearly and dramatically.
It's hard to see how the Copyright Office can rise to the many challenges of the 21st-century work that you do without dramatically more independence and dramatically more flexibility.
I tend to like strong female characters. It just interests me dramatically. A strong male character isn't interesting because it has been done and it's so cliched. A weak male character is interesting: somebody else hasn't done it a hundred times. A strong female character is still interesting to me because it hasn't been done all that much, finding the balance of femininity and strength. [From a 1986 Fangoria interview]
I am playing the character of Sanjana in 'Race 3' and it is very a dark character in the initial phase of the film but towards the end, it gets transformed into a positive character.
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