A Quote by Orson Scott Card
A character is what he does, yes - but even more, a character is what he means to do.
Related Quotes
Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.
Within a single scene, it seems to be unwise to have access to the inner reflections of more than one character. The reader generally needs a single character as the means of perception, as the character to whom the events are happening, as the character with whom he is to empathize in order to have the events of the writing happen to him.
I think every time you take a female character, a black character, a Hispanic character, a gay character, and make that the point of the character, you are minimalizing the character.
Any character that you come up with or create is a piece of you. You're putting yourself into that character, but there's the guise of the character. So there's a certain amount of safety in the character, where you feel more safe being the character than you do being just you
A black character is much more than just a black character; he's a character, period. So show the world as it is. Even with all your artistic license, you make a political choice.
What is the character trying to say? Why? Be as specific as you can, using sense images that evoke something about the character. Try using the character's senses, even if the character is you.
'My character wouldn't do that.' That was always my favorite thing people say: 'My character wouldn't do that.' I said, 'Well, it says right here in this script your character does that.'
Never does a man portray his character more vividly than when proclaiming the character of another.
When needs and means become abstract in quality, abstraction is also a character of the reciprocal relation of individuals to oneanother. This abstract character, universality, is the character of being recognized and is the moment which makes concrete, i.e. social, the isolated and abstract needs and their ways and means of satisfaction.
If you never fall in love with your character, you'll never be able to do that character justice. No matter who it is, no matter what the character does, you have to find the reason for it. Everyone's got a reason for what they do, even if it's a reason that they're not proud of.
Breathing is always key in any character. When you have a character with no voice, that makes it even more important.
Those who quit their proper character to assume what does not belong to them are, for the greater part, ignorant both of the character they leave and of the character they assume.
For dignity of character, consciousness is needed, not conscience and that's the function of meditation. Meditation does not give you any character directly. It does not say what to do and what not to do. It never gives you any commandments. It simply gives you a technique for becoming more aware, for being more alert, watchful, witnessing.
I don't only act out of my character; my character reacts to my actions. Each time I why, even if I'm not caught, I become a little bit more of this ugly thing: a liar. Character is always in the making, with each morally valenced action, whether right or wrong, affecting our characters, the people who we are.
I’d like to be the kind of actor who is remembered for my character. You know how there are cases where even when you watch all the way through the end of a drama, you remember the actor’s name, not the character’s. I want my character’s name to be more remembered than mine.
I love the idea of seeing a character - I mean, there's nothing like seeing a character and having the huge detail and roundness that a character in a book can give you. It's so much more full than a character in a script can give you, isn't it?
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