Characters Quotes

The first day was memorable for me. I walked into this studio with these giant eyes, slowly met everybody and got to see the story boards and sketches of our characters. I got the see the sets and was just amazed that all this was to be something we all were going to be part of for almost a year.

Since I was there in the very beginning, I know the history of the characters. So, I make comments about the tone and sometimes remind the writers that we've done that before.

When I'm writing the book I'm laughing at just how overblown the characters seemed. How full of himself he seems. But I didn't get far enough in the series to really drive the joke of it home.

Special effects are characters. Special effects are essential elements. Just because you can't see them doesn't mean they aren't there.

The same characters that keep reappearing, bigger than life, find their own integrity in doing what they do the way they do it, even if it causes their own deaths.

I don't usually direct actors in the classic sense of that word. Instead, I try to remind the characters before the shoot what's going on in a very simple way. I then watch them, their inventions as actors, approving or not approving what they're doing.

I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.

I want people to like me. They don't have to always like my characters, you understand.

Once we got over the origin story, we could really delve deeper into their lives and characters and angst. So this movie actually has more heart, more humor.

I had a very happy childhood, but I wasn't that happy a child. I liked being alone and creating characters and voices. I think that's when your creativity is developed, when you're young. I liked the world of the imagination because it was an easy place to go to.

Whenever you have two characters in a book, whether it's a novel or nonfiction, you run the risk that the reader is going to like one more than the other. They're going to read one chapter and say, 'I can't wait to get back to the other guy.'

I like to cast actors I admire, one's that are talented. Each one will bring something new to the part. This play has been done thousands of times and now certain characters are too familiar.

We set ourselves a limit and cut characters which weren't so vital.

It doesn't really feel like it's got anything to do with me. I mean, I know I wrote it, and all that and invented the characters and made it up, but it's Mike's film, so doing the press and stuff, it feels a little bit inauthentic. I was just one component of it.

My characters are not plastic.

I just have my own taste, and I just try and stick with that. I'm just trying to play as many characters as I can for as long as I have an opportunity to.

Unlike life, you've got more or less complete control over what's going on in your stories. That's not to say you can make characters do whatever you want them to - they usually have a life of their own if you've done your job properly.

I appear to be drawn to iconic characters and what they reflect back to our cultures.

I am not sure how much Dudley will feature just because of the grand scale of the film and the fact that there are so many stories and characters to tie up. I haven't seen the film yet but I think it will be a blink-and-you'll-miss-it moment, but it was nice just to round it off and give it some closure.

Our first scene is sort of a reunion between the X-Men characters, which establishes everyone's relationship to one another, sort of like a recap for all those who have forgotten since the last movie.

When the music and the characters are flawlessly synchronized, the opera develops an emotional force that movies and plays cannot match.

I like to push characters to extremes so they have to make really tough decisions and there is no life more extreme than that of an athlete.

I think about everything first. I think about the scenario: the story and the characters, what I'm trying to say and I'll think about that for a couple of days until it's all locked in and then when I get to an instrument it'll just fall out. But the song's kind of all ready there in my head.

You are always hoping that movie audiences are interested in characters and interested in story values rather than just mindless special effects. But you never know.

You love all your characters, even the ridiculous ones. You have to on some level; they're your weird creations in some kind of way. I don't even know how you approach the process of conceiving the characters if in a sense you hated them. It's just absurd.

Psychology is the science of the intellects, characters and behavior of animals including man.

When two characters or two actresses are together for a while there is bound to be chemistry developing.

With all of the qualities of the scene-setting, the dialogue, the place and time and the time and place in which your characters move. And I want to move with the characters, move with them and describe the world in which they are living.

The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.

You can fake your age or mask it, but the passion that moves the characters has to be real.