A Quote by Vladimir Nabokov
No author has created with less emphasis such pathetic characters as Chekhov has.
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A character is never the author who created him. It is quite likely, however, that an author may be all his characters simultaneously.
Somehow I find it easier to inhabit characters if they are a little bit pathetic. I do seem to have an affinity with pathetic people.
I like the idea of all of us looking at the world with less of an emphasis on national borders and with more of an emphasis on shared humanity.
With a novel, which takes perhaps years to write, the author is not the same man he was at the end of the book as he was at the beginning. It is not only that his characters have developed-he has developed with them, and this nearly always gives a sense of roughness to the work: a novel can seldom have the sense of perfection which you find in Chekhov's story, The Lady with the Dog.
My favorite author is Anton Chekhov, not so much for the plays but for his short stories, and I think he was really my tutor.
Writing is transmogrifying, not just for the reader but also for the author; an author becomes someone he or she isn't by living the lives of his or her characters.
When I started in the theater, I'd do plays by Shakespeare or Ibsen or Chekhov, and they all created great women's roles.
Once the world has been created, the fantasy author still has to bring the story's characters to life and unfold a gripping plot. That's why good fantasy is such a hard act to bring off.
Now I approach climbing differently. I have learned less effort and energy, less obsession, and more feeling, as with piano, more emphasis and less frenzy.
For an author, the nice characters aren't much fun. What you want are the screwed up characters. You know, the characters that are constantly wondering if what they are doing is the right thing, characters that are not only screwed up but are self-tapping screws. They're doing it for themselves.
The supporting characters typically carry less story/plot weight - so you can be more broad and pushed with them. Supporting characters also take up less of the film's screen time. A short is a great opportunity for supporting characters to shine.
It is always a tense moment for an author to see how someone hasillustrated his or her story, because the author has lived for so long with these characters, sometimes for years.
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.
As in the case of many of the stories that I've written I'm not trying to editorialize. I don't want there to be a message at the end of anything I write. Otherwise you wouldn't trust the characters. They'd feel less organic and more like puppets that are sharing the author's opinion.
Chekhov directors and Chekhov actors love working on his plays because there seems to be no end to what you can find out about the micro-narrative when you're investigating a text.
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.
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