Quote of the Day
Now there are certain things you have to prepare - like dialect and special skills. But in the moment, interaction between two characters on the page doesn't need - for me, I don't need to prepare that.
I think there's a tendency for actors like myself, and I don't mean to generalize myself, but I've played 'men's men,' if you will, characters that are simmering rage and calculated. There's a trend not to play anything that is opposed to that.
I have a cheat-sheet for each one of my characters about their personality, the way they look, etc. So there is no possible way that I could have writer's block.
R. L. Stine
I'm a working actress able to make choices based on characters rather than what I 'should' do for my career.
I think it's fair to say I'm attracted to playing characters who are rather intense.
Sure, I'll have characters drop in and out of books but the main cast of characters always changes. Maybe I'm wrong but I think if had the same joe detective guy or gal, I wouldn't write them as well; I wouldn't do as good a job.
The more you are known, the more difficult it is to hide behind characters.
I would love to do more movies, but the reality is women have many more opportunities on television to play a greater variety of characters.
Authors have odd relationships with their creations They owe their fame and fortune to their characters but feel enslaved by them.
I just always gravitate toward the kind of characters or people that maybe you don't want to talk to for a long time at a party, but you do like to watch what they're doing.
I've been very lucky in the characters I've chosen. Up until last year I was a nobody. I did jobs I booked because I needed to put food in my mouth.
My characters are often without a significant parental figure.
I choose material instinctually - at the heart of it are characters that I feel are fresh and original, and allow for an opportunity to, I suppose, explore uncharted ground.
None of the characters I've played are really like me. That would be boring. That wouldn't be acting.
I don't like to play characters that are one note, and just the attractive girl in the film.
I've done literally 100, 150 different characters.
For the past few years my fans have made it very clear that they would like to read my novels and revisit my family of characters faster than I can write them. For them, I am willing to make a change to my working methods so the stories in my head can reach the page more frequently.
Authors can only soft sell the environment. Create a wonderful story around the environment involving the characters that leaves a lasting impression on the reader's mind.
In the theater, characters have to cut the umbilical cord from the writer and talk in their own voices.
That's the thing, when you play younger characters they're always less casual. You're hungrier or more naive. Those things wane in time.
I want to play characters that are interesting to watch.
Action films are great, but an action film that has characters that are compelling and a story that people can care about is something even better. We love to see action heroes that are vulnerable, that are sensitive, that are family people, that are accessible.
One of the things I really like about Ford's films is how there is always a focus on the way characters live, and not just the male heroes.
I want people to like me. They don't have to always like my characters, you understand.
I'm much more low-key than the characters I've played.
Sometimes, comics will make the observation that it's not jokes that are funny, it's characters that are funny. And isn't that true! That's why I always kill jokes. I'm terrible at them, because I get the joke right, but I can't get the character right, and it just goes down like a lead balloon.
You can be interested in a Jane Smiley novel whether or not anyone says a word. She enters into her characters' thoughts with great understanding and depth.
A lot of my characters in all of my books have a self-destructive urge. They'll do precisely the thing that they know is wrong, take a perverse delight in doing the wrong thing.
What comes easiest for me is dialogue. Sometimes when my characters are speaking to me, I have to slow them down so that I'm not simply taking dictation.
The constraints of melodrama can be a great blessing, because they demand that all the characters involved - as absurd and extreme as they may initially seem - must stay utterly rooted in their own reality, or the whole project collapses.
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