A Quote by Ambrose Bierce
The palmist looks at the wrinkles made by closing the hand and says they signify character. The philosopher reads character by what the hand most loves to close upon.
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PALMISTRY, n. The 947th method . . . of obtaining money by false pretences [by] "reading character" in the wrinkles [of] the hand. The pretence is not altogether false. . . for the wrinkles in every hand submitted plainly spell the word "dupe."
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.
Everyone in this world is dealt a different hand - some better, some worse than others - but what's more important is how you play that hand. This is what builds character. And with great character comes great reward.
It's relatively easy to create an ambiguous character. Any conglomeration of likable and unlikeable traits, chosen at random, will result in an ambiguous character. Getting an audience to deeply identify with a character, on the other hand, is one of the hardest things in the world to do.
When I'm writing, I try to have the mask of my character on as I'm walking through the world. When I'm not at my desk, the rest of the time, I try to stay in that character and see the world the way that character would It's almost like method acting in a way — keeping the character close the way the actor keeps a script close and always tries to be in character.
The more limitations you put on a character often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.
The more limitations you put on a character, often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.
My approach to Pennywise was, on one hand, I wanted to stay true to the essence of the character but at the same time make it an edgier character that is basically unpredictable and people won't expect everything he comes up with.
If I'm a character, it's a biographical movie. My character is as close to me as possible. As close to being myself as possible. So my character, J. Cole, is very close to Jermaine Cole.
so I love you because I know no other way than this: where I does not exist, nor you, so close that your hand on my chest is my hand, so close that your eyes close as I fall asleep.
Every time you take someone figuratively by the hand and introduce him or her to Jesus Christ, you will feel how deeply our Savior loves you and loves the person whose hand is in yours.
I suppose meeting people whether it's in real life and actually shaking their flesh and blood hand or shaking the mystical hand of the character all rub off on you in some way.
When you are writing a character, what the character says is obviously crucial. But what the character doesn't say is absolutely as important as his words.
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.
'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.'
This is what is hardest: to close the open hand because one loves.
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