Characters Quotes

But so long as we can keep this crew of fantastic people together and can continue to make real breakthrough films in this category, as well as characters that stay true to what we've done in this first film, I'd be more than happy to be a part of it.

Emotions serve characters' purposes. That is their motivation.

Part of the success of the show is that the audience sees themselves in the characters, becomes the characters. The more they inhabit the characters, the more they see.

You take what you know, and you put it through your own prism. If I play characters that break down or cry, it's Gary Oldman crying; it's not the character crying.

All the Disney lead male characters always have this kind of John Davidson kind of look to them. They all look like the same guy, and all the females look like the same, and I think the guys are just way too big.

In the theater, characters have to cut the umbilical cord from the writer and talk in their own voices.

There's immense fun to be had as long as you can sort of sneak it past DC. I have been told on occasion that I need to have more respect for these characters.

Casting ethnic characters is a very hard thing to do, but it's important. It's also interesting.

They're all based on factual characters. Well, a good amount of them. That's why I was attracted to this genre anyways, because these characters are so large and cartoonish, they're like caricatures, I just felt that there had to be a film made about them.

Homer's whole language, the language in which he lived, the language that he breathed, because he never saw it, or certainly those who formed his tradition never saw it, in characters on the pages. It was all on the tongue and in the ear.

When I owned the theater, I had the Glen Miller Orchestra. I had 20 girls singing and dancing. I had a cast of characters. It was a big group production, as well as ushers, ticket takers.

I look for material that both interest me and challenges me. If I am drawn to the material and I have to work hard at it, the characters and the plots reflect the hours and hours of research.

I'm so into playing different characters, even when I was on Nickelodeon. I just observe.

It's hard to know exactly how people develop the characters they do. There could be people from humble beginnings that turn into jerks. Some characteristics are just part of that special soul of that human being.

I think all those actors from that generation, like Bogart - they were wonderful actors. They didn't act. They just came on and they did it, and the characters were wonderful.

I somewhere along the way became fascinated with exploring characters who are willing to put themselves into violent situations, whether it's football, hockey, boxing, being a cop, being a soldier. There's not a lot of people who are willing to put themselves into those situations.

I think a lot of people relate to some of my characters' inner struggles.

It's hard to leave behind scenes and characters I am in love with.

My childhood was influenced by the roles my father played in his movies. Whether Abraham Lincoln or Tom Joad in the 'Grapes of Wrath,' his characters communicated certain values which I try to carry with me to this day.

I think it is important that you care about the characters, and you are not just waiting for the next action sequence but have a vested interested in what happens to them.

It is easier to influence strong than weak characters in life.

In horror, character development is often pushed aside in favor of the shock value. The best genre movies to me are movies like The Shining. You had a connection to the characters in that film.

I always try to make my characters people, and yet I always want to entertain.

The work evolves when you get another part, and then you're getting called on to solve difficult characters, to inject a note of humanity into them. It's more interesting for me to do that than to stand around and be sunny.

I think for anybody reading the book they're going to get an idea in their heads of all those characters, and I think that once that gets fixed, it's quite hard to shake.

I'm hopefully making the reader feel a lot about the characters and then about their own life.

Hemingway was a prisoner of his style. No one can talk like the characters in Hemingway except the characters in Hemingway. His style in the wildest sense finally killed him.

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.

Writing is a question of finding a certain rhythm. I compare it to the rhythms of jazz. Much of the time life is a sort of rhythmic progression of three characters. If one tells oneself that life is like that, one feels it less arbitrary.

My characters are always on the outside; the spotlight's not on them. But they do get somewhere.