Top 1200 Interesting Characters Quotes & Sayings - Page 15

Dictators are ludicrous characters, and, you know, in my career and in my life, I've always enjoyed sort of inhabiting these ludicrous, larger-than-life characters that somehow exist in the real world.

The relationship between reader and characters is very difficult. It is even more peculiar than the relationship between the writer and his characters.

If I hadn't left South Africa, I felt I was at risk of being pigeonholed. I looked around and saw actors who, 10 to 15 years into their careers, were still playing stereotypical Afrikaans characters, stereotyped Indian characters. That was not something that I wanted for myself.

It's hard to know whether certain characters come to life or not, they either come to have their own life or they don't. I've written many things in which the characters just remain inert.

I like movies about people and movies with characters; that's what I'm drawn to as a person who likes to create these characters within the story, but I like it all, really.

Before there was any talk of a movie, people would sometimes ask me what actors I would imagine playing these characters. And the only thing I could ever say is: I have such a clear idea of these characters that they'd have to play themselves.

Revision has its own peculiar pleasures and its own peculiar frustrations. The ground rules are already established; the characters already exist. You don't have to bring the characters to life, but you do have to make them more convincing.

I used to subscribe to Nintendo Power. The first issue had 'Mario 2,' and it had all the characters rendered in clay. So I started making all of these characters out of clay.

A lot of readers want characters to behave in a responsible way, or they want to understand the characters' dilemma and act, in a way, on their behalf.

Male playwrights, on the whole, are probably more interested in male characters. They need women characters to be the women in their lives or to be the domestic difficulty.

The Beautiful Things that Heaven Bears is very much about America - it just happens to have African and Ethiopian characters, and in fact, it happens to have more characters who are not Ethiopian than who are.

My characters are usually composites. I wish I could pretend that I make up all of these characters, but no. I steal from people. But people will say to me, "Oh, that's me!" and I'm thinking, no, that's not you!

It's interesting in seeing when I'm talking to men in particular and telling them I'm an actress versus a director and the different turn the conversation will take when I say I'm a director. The level of respect is very interesting.

My job is that of an actor. As long as I get to act, get some interesting parts to play, get to be a part of interesting stories, I would certainly want to do it.

I don't consider myself a competition to anyone. There is ample space for everyone here. When there are directors who create characters for me, why should I feel bothered or insecure? When it comes to updating myself, I work very hard to relate to the emotions of characters I play.

The most important thing for me in an action sequence is, you understand the characters' intention and the challenges the characters are going to have to face: what the character story is within the action sequence.

If someone's really busy listening to other CDs, and worried about what's new and what's truly relevant for discourse now, maybe it isn't that interesting. To me it is, because I'm tuned into that and that's what I like, so it's interesting to me. It's all I can do.

To connect with the characters, you need to connect with the world. If the world feels vaguely familiar, I believe the characters will feel relatable.

I do not choose characters because I think, 'Wow, that woman is so strong.' I chose these characters with utmost conviction because I think they were realistic enough to exist, and I really liked the scripts.

Obviously, I love superheroes; I love comic book characters, but I... I guess I've had a lifelong affection for comics, and while I love the characters so much, I also love the medium.

I enjoy playing a quintessential antihero. There's something therapeutic about playing such characters. I know it sounds corny but I feel like I learn about myself when I play that characters.

I think a lot of the most interesting work in art and in films are often kind of polarized opinions and affect people in very different ways, which may be less successful commercially, but they elicit a dialogue that's quite interesting.

I like to hear and smell the countryside, the land that my characters inhabit. I don’t want these characters to step off the page, I want them to step out of the landscape.

I just write characters, and somehow they happen to be a boy and a girl. When the story is put together, and their characters interwoven, they do end up together somehow.

What people like are things to laugh at. Funny shows. It's all in the execution, the writing and the characters, not the setting. And the writing and the execution and the characters are GREAT on (Everybody Loves Raymond).

The whole nature of the show [ Dirk Gently's Holistic Detective Agency] is that everything is connected, and everything is interconnected. You have all of these strands with all of these characters, and you watch the characters interact and you wonder, "What do they have to do with each other? How does any of this link?"

I think that I've always been attracted to characters who are positive and come from a very innocent place. I think there's a lot of room for discovery in these characters, and that's something I always have fun playing.

One of the things I'm concerned about is that I really want to make sure the races of all the characters are kept. I don't like it when black characters become white in movies, or things like that.

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.

Characters are incredibly important, but I tend to build them around the plot during the outline stage. However, once I'm writing the manuscript, the characters I'm writing dictate how the plot unfolds.

I really love idiot, enlightened characters - these characters who fail to engage with the drama of their immediate circumstances; they fail to be reactive and enrolled by drama as it happens around them.

People say that to me and I think what unites all my characters is that they are hurt; it's most accurate to say I play characters that are hurt but are responding to their environment.

I think there's a dark and twisted idea of democracy that everybody is as interesting as everybody else. So we mustn't make anybody too interesting. There's an ironing out of edges and eccentricities, idiosyncrasies in people and situations.

There are no characters in the limited series Fargo that are derived from the characters in the film Fargo. It's hard to describe how remarkably true to the film the show is.

I'm attracted to films that have strong female characters because there are strong female characters in my life. That's my own reality, so it's a doorway into a world for me.

When I'm writing a novel, one of the things I do is get big poster boards. They're actually canvases that artists use. And I keep all the characters' names on them. If you write a big novel, there's a lot of characters.

I'm attracted to stories that excite my imagination, stories that, as I'm reading the script, I feel it, I can see it, I can hear the characters. I'm attracted to characters that are real, that tap into something inside me that I haven't explored yet.

All of the characters in my films, they share one commonality. It doesn't matter whether they are good or bad, it doesn't matter whether they are smart or stupid, these characters all take responsibility for their own behavior. I'm much the same.

I live intimately with my characters before starting a book. I cut out pictures of them for my wall. I do time lines for each major character and a time line for the entire novel: What is going on in the world as my characters struggle with their problems?

'The Beautiful Things that Heaven Bears' is very much about America - it just happens to have African and Ethiopian characters, and in fact, it happens to have more characters who are not Ethiopian than who are.

And I think a good writer's gonna make it interesting. From the first paragraph it will all be interesting. Just work at it and work at it and work at it.

What really dissatisfies in American civilisation is the want of the interesting, a want due chiefly to the want of those two great elements of the interesting, which are elevation and beauty.

Creating characters is like throwing together ingredients for a recipe. I take characteristics I like and dislike in real people I know, or know of, and use them to embellish and define characters.

When you start writing, you have your characters on a metaphorical paved road, and as they go down it, all these other roads become available that they can go down. And a lot of writers have roadblocks in front of those roads: they won’t allow their characters to go down those roads... I’ve never put any roadblocks on any of these paths. My characters can go wherever they would naturally go, and I’ll follow them.

I'm really into, like, characters - music characters like Sid Vicious and Kurt Cobain - just, like, how they are and stuff. Like Lil Wayne.

Damita Jo. Jo. That's my middle name. It's let in about the different characters that live within me. They say we have 200 characters that we portray with different people.

Characters who are absolutely sure about what they do, who plunge ahead without fear, are not that interesting. We don’t go through life that way. In reality, we have doubts just like everyone else. Bringing your Lead’s doubts to the surface in your plot pulls the reader deeper into the story, and this is an excellent way to coax the reader to lose himself in the story world you’re about to create.

All of us need to talk to someone who's interesting, intelligent, knows us well, and is on our side - and that's us. We're probably the most interesting person we know.

Your characters are always your children. And while you are writing, you're keeping them safe. Now they're ready to go into the world and it's sad. I'm happy with the way the novel came out but all the characters' ending really saddened me.

Dialogue is the ideal means of showing what is between the characters. It crystallizes relationships. It should, ideally, be so effective as to make analysis or explanation of the relationships between the characters unnecessary.

There are times that you have a plot in your head, but then you find that the characters don't want to do that. When you're looking at the story from the outside, you can create whatever twists and turns you want. But when you're writing, you're inside the characters' heads, and you see that they may be motivated to do something different.

Interesting." Raistlin coughed the word. Tanis glanced at him sharply. "What is interesting?" "I've never heard you lie before, Half-Elf," Raistlin said softly. " I find it...quite...fascinating.

A writer has to stand outside the page. It's not for the writer to shed tears onto the pages for these characters. It's not for him to suffer or to laugh or to experience ecstasy or agony in the manner of the characters on the pages.

Lots of times when you watch anime, the characters all have white skin - all the characters in fantasy stories all have white skin, which I never liked.

While I've written in the POV (point of view) of adolescent characters before... I never have had to create novels in which those characters not only drive the plot, but also are instrumental in resolving whatever issue the plot deals with.

I mean when I was working shall we say with Disney, you know they sent me the script for the film Hercules and I had to imagine what all the characters looked like. And to develop those characters, so nothing exists visually when I get the script.

I'm selfish, I think. I think an artist has to be. I'm not worried about what people think. I play the parts that I find interesting. It'd bother me more to be just pigeonholed into doing what people think is ethical or that's boring to me. I don't pick parts with that in mind, I just find interesting stories. If it's interesting to me, then I do it.

Life, with all it's sorrows, cares, perplexities and heart-breaks, is more interesting than bovine placidity, hence more desirable. The more interesting it is, the happier it is.

To play different characters on a TV show where you're working every day, playing multiple characters every day, it's so ridiculously intense.

One of the things that I like about 'Narcos' is that not only Pablo but with all the characters - this is not a black and white show. This is not a regular American cop show where two cool cops go to save a country from a bad guy. All the characters are very complex.