A Quote by Luigi Pirandello
When the characters are really alive before their author, the latter does nothing but follow them in their action, in their words, in the situations which they suggest to him.
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The stories I love the most are where the author has a lot of empathy for everyone. The author loves their characters and takes their situations really seriously, and you feel like you're just dropped into a different world.
When a character is born, he acquires at once such an independence, even of his own author, that he can be imagined by everybody even in many other situations where the author never dreamed of placing him; and so he acquires for himself a meaning which the author never thought of giving him.
What interests Sam Mendes are characters and relationships, and he was a genius at giving you the freedom to create the type of character you want, and also to explore and have fun with your fellow actors. For him, characters and relationships are really the heartbeat of the film, and then the action is the backdrop. By developing the characters, he makes you care that much more about the action and going on a journey with the characters.
A story should be managed so that it should suggest interesting things to the reader instead of the author's doing all the thinking for him, and setting it before him in black and white.
Action seems to follow feeling, but really action and feeling go together; and by regulating the action, which is under the more direct control of the will, we can indirectly regulate the feeling, which is not.
A thought which does not result in an action is nothing much, and an action which does not proceed from a thought is nothing at all.
I felt him there with me. The real David. My David. David, you are still here. Alive. Alive in me.Alive in the galaxy.Alive in the stars.Alive in the sky.Alive in the sea.Alive in the palm trees.Alive in feathers.Alive in birds.Alive in the mountains.Alive in the coyotes.Alive in books.Alive in sound.Alive in mom.Alive in dad.Alive in Bobby.Alive in me.Alive in soil.Alive in branches.Alive in fossils.Alive in tongues.Alive in eyes.Alive in cries.Alive in bodies.Alive in past, present and future. Alive forever.
There is no obligation for the author of a film to believe in, or to sympathise with, the moral behaviour of his characters. Nor is he necessarily to be accredited with the same opinions as his characters. Nor is it necessary or obligatory for him to believe in the tenet of his construction - all of which is a disclaimer to the notion that the author of Drowning by Numbers believes that all men are weak, enfeebled, loutish, boorish and generally inadequate and incompetent as partners for women. But it's a thought.
A character is never the author who created him. It is quite likely, however, that an author may be all his characters simultaneously.
No use to shout at them to pay attention. If the situations, the materials, the problems before the child do not interest him, his attention will slip off to what does interest him, and no amount of exhortation of threats will bring it back.
Action seems to follow feeling, but really action and feeling go together; and by regulating the action, which is under the more direct control of the will, we can indirectly regulate the feeling.
Novel writing, to me, is all about language: choosing your words, finding the characters within the words and just really agonizing over every word. It's really crafting this whole piece from nothing.
I think even the characters that are fundamentally evil and wrong, I want people to really love them. I think that's important to writing believable characters. They don't have to be likable but they have to be loved, at least by the author.
Nothing can be true which is either complete or vacant; every touch is false which does not suggest more than it represents, and every space is false which represents nothing.
As usual, it occurred to me that words were the only thing that could possibly save me from this situation. This was a characteristic misunderstanding on my part. When action was needed, I was absorbed in words; for words proceeded with such difficulty from my mouth that I was intent on them and forgot all about action. It seemed to me that actions, which are dazzling, varied things, must always be accompanied by equally dazzling and equally varied words.
I find my voice and manage to say those three one-syllable words back to him. Words I haven't uttered in a very, very long time. Words that meant nothing before now.
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