It may. . . be judged indecent in me to come forward on this occasion; but when I see a fellow-creature about to perish through the cowardice of her pretended friends, I wish to be allowed to speak, that I may say what I know of her character.
For me, it's important that I experience and feel what the characters are feeling. So I put myself in those moments, in their thoughts, and let it happen naturally. I write what I feel.
As a creator of character his peculiarity is that he creates wherever his eyes rest. . . With such a power at his command Dickens made his books blaze up, not by tightening the plot or sharpening the wit, but by throwing another handful of people upon the fire.
When you start and you're taking the character seriously, it's going to lead down a variety of paths.
Postal will be so politically incorrect and harsh, it's like a mirror to American society, and I don't think the movie will be well received by everybody. For example, Osama Bin Laden will be one of the lead characters - I think that shows the mood of the movie.
King old ladies assure us that cats are often the best judges of character. A cat will always to to a good man, they say.
You never know how people are gonna receive you and especially a character that's so close to the fans in type.
Remember that you don't write a story because you have an idea but because you have a believable character.
I'm not interested in playing characters who see the world through my prism. I think the journey of understanding any character is to see how they tick and how they differ from you.
It occurred to Susan that men were always waiting for something cataclysmic-love or war or a giant asteroid. Every man wanted to be a hot-headed Bruce Willis character, fighting against the evil foreign enemy while despising the domestic bureaucracy. Men just wanted to focus on one big thing, leaving the thousands of smaller messes for the women around them to clean up.
I’m a better person in a relationship, and I’m a happier person. I need to come home at the end of the day and have it not be about me and my freaking hair and makeup and character motivations anymore. And I think my work is more inspired when home is safe and sound and solid, because what I do for a living is so bananas and so insecure.
Basically, I think that there are some characters that you can just allow the truth of your character as a human being in your real life to come through
The easier you make it look, the more difficult it is. Creating characters out of nothing, and making them interesting - and that's another advice I would give to writers.
So long as a novelist works selfishly for the pleasure of creating character and situation corresponding to his own illusions, ideals and intuitions, he will always produce something worth while and natural. Directly he takes himself too seriously and begins for the alleged benefit of humanity an elaborate dissection of complexes, he evolves a book that is more ridiculous and tiresome than the most conventional cold cream girl novel of yesterday.
Difficulty attracts the man of character because it is in embracing it that he realizes himself
We do not build speedways, but roads which correspond to the character of the German landscape.
I spent my life folded between the pages of books. In the absence of human relationships I formed bonds with paper characters. I lived love and loss through stories threaded in history; I experienced adolescence by association. My world is one interwoven web of words, stringing limb to limb, bone to sinew, thoughts and images all together. I am a being comprised of letters, a character created by sentences, a figment of imagination formed through fiction.
I think that the most important thing for me is how is the character that I would be reading for? Is it interesting? Is there stuff to do? Are there things that you can do with the character? How can you play it out? Just those kinds of things that are very important for an actor.
Trust your actors. That's why I work with the same actors time and time again. I encourage them to change the dialogue to achieve one thing: keep the characters honest.
In fact, the underlying principle of the baroque is the idea of transformation, of movement, and animals becoming man, and man becoming animals, and mythology. It was a way to inspire pre-Christian character.