A Quote by Manuel Puig
I believe in characters as vehicles of exposition. Their voices are full of hidden clues, and I like to listen to them.
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For its part, Government will listen. We will strive to listen in new ways - to the voices of quiet anguish, to voices that speak without words, the voices of the heart, to the injured voices, and the anxious voices, and the voices that have despaired of being heard.
I think it's definitely beneficial for these characters to have good acting voices behind them and it affects the characters in a way that people can feel like they're part of the game and that they know these characters.
By suggestion and example, I believe children can be helped to hear the many voices about them. Take Time to listen and talk about the voices of the earth and what they mean-the majestic voice of thunder, the winds, the sound of surf or flowing streams.
The world is full of many beautiful voices; I will perform with many of them. I love women's voices.
With regard to electric vehicles, I am all for them because most of the incremental electricity needed to run those vehicles will come from gas-fired electric generation. However, I do not believe it is wise for America to substitute dependence on foreign oil for dependence on Chinese batteries.
I don't like the strictly objective viewpoint [in which all of the characters' actions are described in the third person, but we never hear what any of them are thinking.] Which is much more of a cinematic technique. Something written in third person objective is what the camera sees. Because unless you're doing a voiceover, which is tremendously clumsy, you can't hear the ideas of characters. For that, we depend on subtle clues that the directors put in and that the actors supply. I can actually write, "'Yes you can trust me,' he lied." [But it's better to get inside the characters' heads.]
When you're writing a pilot, unless you already have an actor attached to the project, you're writing it with all the voices sort of in your head. Once you actually cast it, the actors become the voices of the characters, and you start to write for them and their strengths.
So much of what I do... is coming up with new characters and trying to invent voices for them, and to have people fully fleshed out in my head and to know who can say what in the scene and who these characters are... I love it.
I actually prefer female voices to listen to, mostly, but among the male singers whose voices I like are Jeff Buckley, Art Garfunkel, that sort of voice. Contemporary crooners rather than rockers.
There's a lot of magic in voices. I love voices that are very old, very gravelly, very deep. I like metallic voices; I like velvety voices. The voices of children.
If you believe certain words, you believe their hidden arguments. When you believe something is right or wrong, true or false, you believe the assumptions in the words which express the arguments. Such assumptions are often full of holes, but remain most precious to the convinced.
The world is full of shitheads, Rhea. Don’t listen to them—listen to me. And I know that Lou is one of those shitheads. But I listen.
The thing about great fictional characters from literature, and the reason that they're constantly turned into characters in movies, is that they completely speak to what makes people human. They're full of flaws as much as they are full of heroics. I think the reason that people love them and hate them so much is because, in some way, they always see a mirror of themselves in them, and you can always understand them on some level. Sometimes it's a terrifyingly dark mirror that's held up.
The bad novelist constructs his characters; he directs them and makes them speak. The true novelist listens to them and watches them act; he hears their voices even before he knows them.
I now understand what Nelle Morton meant when she said that one of the great tasks in our time is to "hear people to speech." Behind their fearful silence, our students want to find their voices, speak their voices, have their voices heard. A good teacher is one who can listen to those voices even before they are spoken-so that someday they can speak with truth and confidence.
I think we all look for clues that we are not utterly alone... Clues we find in literature and paintings and music and even someone’s eyes; clues that demonstrate that someone else has felt the same indescribable feelings, seen the same things or passed by the spot even if it was by candlelight three hundred years ago. It means everything, like finding footprints in the sand of a deserted island.
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