A Quote by Maria Edgeworth
We cannot judge either of the feelings or of the characters of men with perfect accuracy from their actions or their appearance in public; it is from their careless conversations, their half-finished sentences, that we may hope with the greatest probability of success to discover their real characters.
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I think the idea, first and foremost, is to understand that people may label these characters as villains, but at the end of the day I have to fall in love with the characters that I play. For me, they have to be real characters with real objectives, and driving forces. So they're all different.
How can we judge fairly of the characters and merits of men, of the wisdom or folly of actions, unless we have . . . an accurate knowledge of all particulars, so that we may live as it were in the times, and among the persons, of whom we read, see with their eyes, and reason and decide on their premises?
Your structure and format may not be perfect, and you may not have picked the perfect franchise, but if I pick up a script, and the characters are real, whole, complicated and come from a place of somebody who really is feeling it, that's what people remember.
I feel my characters are valid, my characters are people, my characters have hope. Hope is the thing that'll take us through.
The public cannot be too curious concerning the characters of public men.
never judge anyone by their appearance, or the car they drive, or the house they live in, or even by the words they say. judge people by their actions. that's how you know whether they're bad or good." - perfect Summer
The characters are whole, real people to me that I'm getting to know, and since real people are all flawed, so are my characters, I hope.
Thoughts and feelings are suspended in a vacuum unless they instigate and feed the selected actions, and it is the characters actions which reveal the character in the play.
We are fonder of visiting our friends in health than in sickness. We judge less favorably of their characters when any misfortune happens to them; and a lucky hit, either in business or reputation, improves even their personal appearance in our eyes.
Men were not intended to work with the accuracy of tools, to be precise and perfect in all their actions.
To the image of the characters, I do change my appearance. For example, I gain weight and I lose weight sometimes, and I grow my hair and cut it. Acting is all about physical expression, so I need to change my appearance for all the 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 think it's more fun to grow to love characters who are flawed than it is to present perfect characters. Perfect characters aren't very funny. Certainly my friends are a strange, intense bunch of people, and people's families drive them crazy, but challenging relationships are always more rewarding.
I feel like we're looked at as either completely nonsexual characters or overly sexual characters, and I feel like that affects how we're treated in the public space by men. I believe that women of color experience street harassment in a very hyper way. So I wanted to draw these women in their very normal, regular states and put those images out there in the public for people to see, instead of these other, very sexualized, images of women.
The main characters for 'The Seer and the Sword' made an appearance one night and then haunted me for over five years before I began to write them down. Does that count as inspiration? For me, characters tend to show up, stay on to help with the work of writing their stories, and then occasionally deign to visit after a book is finished.
All that matters to me as a reader are characters. I want characters to be real, authentic, and rounded. I will be digging into characters for at least a month. Who they are. What they are like. Outside of the story.
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