I converted to Christianity because I was convinced by Jesus Christ as a character, as a personality. I loved him, his wisdom, his love, his unconditional love.
I was always in love with film and becoming a character and playing something else, and nobody ever told me no, so I just followed it, and here I am, having a ton of fun.
Action, reaction, motivation, emotion, all have to come from the characters. Writing a love scene requires the same elements from the writer as any other.
When I was a kid, I used to make up all these characters. I love comedy a lot, and I don't get to do it often. Somewhere in the middle, I shifted into doing drama.
I thought my character definitely was very much in love with him and wanted to be with him, but I think at some point they were going to have to draw the line.
I love thinking of cartoon characters feeling really real feelings. And I love to do that, not just as a fan, but as a creator, so if people want to look for those levels, they're actually there.
I think of my books now as suspense novels, usually with a love story incorporated. They're absolutely a lot harder to write than romances. They take more plotting and real character development.
At the heart of every successful romance novel lies the evolution of its characters. Through love, heroes and heroines grow not only into a perfect match, but into stronger, better, more admirable people.
Large parties given to very young children... foster the passions of vanity and envy, and produce a love of dress and display which is very repulsive in the character of a child.
Every single song I've ever written is sung by a character created by somebody else. Some might have a jaundiced view of love, some don't. But none of these songs is me singing - not a single one.
I'm a feminist. The women in my books in recent years have been powerful characters and I love to see a woman with a cute bottom walking past.
An Emraan Hashmi film has come to guarantee certain ingredients: An intense, grey central character, a beautiful girl - if he gets lucky, then two - couple of kisses, a few bold scenes, fabulous music and a climatic twist.
I see music as an aid. It overcomes my internal editor, especially when the music evokes the character or the mood I'm trying to build.
One of the things that helps me tell a story through music is to create a character. I have to have a muse, whether it's Frida Kahlo, Martha Graham, Marlene Dietrich, or Pippi Longstocking.
It is hard to describe the thrill of creative joy which the artist feels when the conviction seizes her that at last she has caught the very soul of the character she wishes to portray, in the music and action which reveal it.
What I took back, because of my exposure to the Jewish music of the 30s and the 40s in my upbringing with my father, was that kind of theatrical songwriting. It was always a part of my character. This desire to make people laugh.
That's what I so admired about Johnny Cash and June Carter. Their music wasn't a big influence on me. It was their character, their individual styles, what they were like as people. They weren't afraid to stick out.
What I remember when I started to write was how I couldn't wait to get up in the morning to get to my characters.
Each morning my characters greet me with misty faces willing, though chilled, to muster for another day's progress through the dazzling quicksand the marsh of blank paper.
My whole background is character acting: weird costumes, fat suits, playing men, playing animals - I've never played anyone with whom there's any overlapping Venn diagram.
Shy and proud men are more liable than any others to fall into the hands of parasites and creatures of low character. For in the intimacies which are formed by shy men, they do not choose, but are chosen.
