In 'The Prophet' I really fell in love with those characters, there was an emotional connection there that I don't think I've had in a while. It made me think it would be nice to stick with the characters for a little bit and see what happens.
So much of what I do... is coming up with new characters and trying to invent voices for them, and to have people fully fleshed out in my head and to know who can say what in the scene and who these characters are... I love it.
From a writer's standpoint, each character and story presents its own unique challenges and delights. I'm deeply curious about all of my characters, and I love peeling away their layers to see what's underneath their skin, or secreted deep within the...
Music actually inspires me a lot. I listen to a lot of music, and often I find that if I can associate mentally a song or a piece of music with a particular character or scene, it helps me get back into the head of that character.
What I look for in a script is the plot point and whether they're strong, obviously, or not, whether the characters are rich or not, and if I can do justice to the character or not. Some movies you look at and the script is so bad that no one can do ...
Characters are incredibly important, but I tend to build them around the plot during the outline stage. However, once I'm writing the manuscript, the characters I'm writing dictate how the plot unfolds.
I've written original material before, where I've come up with the idea and the characters myself, and that's definitely very different to working with someone else's characters and stories.
Often, I'll read a script and the female character's an extension or serves some sort of purpose in terms of the male character's narrative and it just isn't fully formed. But they will be very beautiful. Whether a secretary or a doctor or a vet, the...
I do not choose characters because I think, 'Wow, that woman is so strong.' I chose these characters with utmost conviction because I think they were realistic enough to exist, and I really liked the scripts.
The characters in the four-lettered word FACT consist of seventy-five percent ACT, so it is always sensible to see the character of a person solely by his ACT or deeds than his words.
Filming a movie is different from a TV show because film is a lot quicker, you get to see the character progress and grow all in one script, and in television, you wait for a weekly update on each character.
Ramona was originally an accidental character I added to the Henry Huggins books because I noticed that none of the characters had siblings. I added Ramona as Beazus' pestering little sister.
I didn't know how to kill off a character unless I was able, as a narrator, to get really complicated. Because it was a big deal. I'd never killed a character before.
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.
I think my own personal style always ends up seeping into characters that I play. I've always had a very distinct idea of fashion for myself, and what a character should wear.
The conflation of the simple in style with the morally prescriptive in character, and the complex in style with the amoral or anarchic in character, seems to me one of the most persistently fallacious beliefs held by English students.
There are interactions with characters within the game which I think are pretty neatly done considering the limitations that you have to work with. I mean, a computer can't really generate a character that talks back and forth with you successfully.
When I look at my body of work, I've played a lot of characters who are morally conflicted - 'I'm right, no I'm wrong, I don't know what to do!' I want to play more characters who don't care as much, and who aren't as measured. They are what they are...
What interests me in all these papers is not Susan Burling Ward, the novelist and illustrator, and not Oliver Ward the engineer, and not the West they spend their lives in. What really interests me is how two such unlike particles clung together, and...
Now listen to the first three aims of the corporatist movement in Germany, Italy and France during the 1920s. These were developed by the people who went on to become part of the Fascist experience: (1) shift power directly to economic and social int...
Creative work bridges time because the energy of art is not time-bound. If it were we should have no interest in the art of the past, except as history or documentary. But our interest in art is our interest in ourselves both now and always. Here and...
