I've done a few costume dramas, and people say, 'What was it like wearing the costumes? Did they really help you with your character?,' and most of the time it doesn't make any difference. You're wearing something a bit weird, and it's sort of uncomf...
I'd always had a hankering to write some old-school sword and sorcery. And there certainly are advantages to that particular form - for one thing, you're able to go all-out on the imaginative front, with a lot less concern for the usual unities of ti...
I sort of leave the character at the end of the day. I don't carry anything around with me - no excess baggage or unnecessary thoughts. I think it's too exhausting to do that. To put things into perspective - your work is your work, and your leisure ...
You really have to take your time; you have to know your character and your scene. The line you are about to say comes from the moment right before. It's not what's said, it's what is in between the spaces, it's what's in between the lines; that is t...
My problem is, whether it's for emotion or for the talents that a character has to have in a role, I find it very difficult to not take on a challenge. For instance, 'Phantom Of The Opera,' in truth, scared the crap out of me, but I wasn't going to w...
[after telling an obviously made-up story of how he created the Little Tramp characters] George Hayden: That's bullshit, and you know it. Charlie Chaplin: But the truth is so boring, George!
[first title card] Title Card: This is a true story. Although the characters are composites of real men, and time and place have been compressed, every detail of the escape is the way it really happened.
Donald Gennaro: [looking at the Jurassic Park technicians] This is overwhelming, John. Are these characters auto-erotica? John Hammond: No,no,no we have no animatronics here. Those people are the real miracle workers of Jurassic Park.
Johnny Caspar: I'm talkin' about friendship. I'm talkin' about character. I'm talkin' about - hell. Leo, I ain't embarrassed to use the word - I'm talkin' about ethics.
Gil Shepherd: Where's Tom? Cecilia: Why? Gil Shepherd: Well, he's my character. I created him. Cecilia: Didn't the man who wrote the movie do that?
Teacher: The notion of secrecy is central to western literature. You may say, the whole idea of character is defined by people holding specific information which for various reasons, sometimes perverse, sometimes noble, they are determined not to dis...
I think any writer is a fool if he doesn't do it for money. There needs to be some kind of incentive in addition to the project. It all goes together. It's fun to sit there and think of characters and get them into action, then be paid for it.
I wanted to make an Indian character who wasn't either a) the savage that must be eliminated, the force of nature that's blocking the way for industrial progress, or b) the noble innocent that knows all and is another cliche. I wanted him to be a com...
My fiction is almost always inspired by a character's need or desire to rise above him- or herself. No one is perfect and some of us have much adversity in our lives; it is those people who struggle to rise above their nature or background that I fin...
I'm crazy about Grant: his character, his nature, his science in fighting and everything else. But I don't like the idea that he never accepted the blame for anything, always found someone else to blame for any mistake that was ever made, including b...
Perhaps summer's ephemeral nature is what inspires us to embrace the beach read. We tell ourselves that these twisted plots and wild characters are literary ice cream sundaes - extravagant treats that aren't as calorie-laden when we're wearing flip f...
The idea that man is a tabula rasa, or Mao's sheet of blank paper upon which the most beautiful characters can be written, is an old one with disastrous implications. I do not think though that the cults you mention could survive honest thought about...
What it comes down to is I don't mind if Superman kills people because he has no reason not to kill people. I know that one of the tenets of the character is that he doesn't, but the reason that he doesn't is because having that much power makes you ...
More-radical scholars insist that an inherent clash exists between science and our long-held conceptions about consciousness and moral agency: if you accept that our brains are a myriad of smaller components, you must reject such notions as character...
So research is a terribly imperfect science, and you learn an awful lot more after you've published a book, because people keep writing to you and saying, 'Oh, gosh, I was related to such and such a character and I have a letter in my possession.'
It's a sad indication of where Washington has come, where policy differences almost necessarily become questions of integrity. I came to Washington in the late '70s, and people had the ability in the past to have intense policy differences but didn't...
