A Quote by Toni Morrison

I sometimes lose interest in the characters and get much more interested in the trees and animals. — © Toni Morrison
I sometimes lose interest in the characters and get much more interested in the trees and animals.
If a movie has more characters than an audience can keep track of, the audience will get confused and lose interest in the story.
I see this with experienced writers, too: They worry so much about the plot that they lose sight of the characters. They lose sight of why they are telling the story. They don't let the characters actually speak. Characters will start to dictate the story in sometimes surprising, emotional, and funny ways. If the writers are not open to those surprises, they're going to strangle the life, spark, or spirit out of their work.
I like straightforward names for my characters. When I get too symbolic with names or places, I start feeling like the characters and the story are less read, and I lose interest.
The characters that have greys are the more interesting characters. The hero who sometimes crosses the line and the villain who sometimes doesn't are just much more interesting.
I think we put far too much interest in trying to get ten to 20 year olds interested in gardening. I think you should do everything you can to try and get them interested up to the age of 10.
But I'm not interested in politics. I lose interest the microsecond it ceases to be emotional, when something becomes a political movement. What I'm interested in is emotions.
I'm not interested in politics. I lose interest the microsecond it ceases to be emotional, when something becomes a political movement. What I'm interested in is emotions.
I think that's the kind of women that people are interested in. They're interested in strong women characters who are stronger than the male characters sometimes, in some ways. That's what's interesting and attractive about women.
The nature of acting is that one is many characters and jumps from one skin to another as a way of life. Sometimes it's hard to know exactly what all of your characters think at the same time. Sometimes one of my characters overrules one of my other characters. I'm trying to get them all to harmonize. It's a hell of a job. It's like driving a coach.
I'm interested in raw land and trees and fresh air and rivers and lots of animals around them.
I don't have a preference for bad people, no. I have an interest in playing a broad range of characters. Obviously, I'm mostly identified with a character who is very responsible, very solid and very intelligent, but there are plenty of questionable characters in my past career. I'm interested in exploring theatricality and characters with some dimension.
When things are too easy I lose interest in them so I find ways to complicate them to get myself interested.
I work sometimes from outlines, which are immediately abandoned. Sometimes, when I'm trying to find the characters, I'll sketch things out a bit. Sometimes, outlines help me aim a little bit, but I tend to find it's usually much more interesting, especially with the first draft, to spew it onto the page. I used to get very nervous that, if I write this first rough draft and I die that night, whoever finds it might think that I thought it was good. For me, it's much more important to get some general shape onto the page and later take all the time I need to refine it, fix it, and rewrite it.
With the Red Sox, you have more of a literary interest in it. You know they're going to lose; you're just interested in how the plot is going to unfold.
Sometimes it's literally just a feeling that you get that somebody is more interested than someone else; and they may both say they're interested, but you get a feeling.
Trees like to have kids climb on them, but trees are much bigger than we are, and much more forgiving.
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