When I was making the early stuff, I never expected it to be so big. I was in my own kind of bubble. I never wanted to tour; I just wanted to create music and make a diary I could put out into the world. And sometimes, I became the characters.
Writing a novel is a huge adventure; when it's going well it's more fun than fun. When it stutters to a halt put it aside. Go for a swim, go for a walk, take a week off. Don't panic or be afraid; you and your characters are in it together. Trust them to come to your rescue.
Flashy characters are more entertaining to people because you get it. You don't have to work to get someone who says what they mean and says what they think. They're out there. It's harder to play a quiet character because everything happens in their stream of consciousness.
I love seeing a story evolve over several books and watching characters develop.
O'Neill presents a very complex multi-layered kind of challenge. His characters are always deeply complex and, to a great extent, inaccessible.
I love changing my roles. I think the most important thing that I can do for myself is to keep changing the genres, the periods, the characters themselves.
Fear has disappeared. No more fear. In Asia, it is different. They've discovered again the fear and the psychology of the characters. Without psychology, the horror film doesn't exist.
Twitter is very impulsive and impermanent and you only have 140 characters. There is no greater 'Emperor' of Twitter than Stephen Fry.
I feel that for the story of 'Romeo and Juliet' to be impactful, it has to be believable, and there has to be a certain level of chemistry between the two characters.
I'm a geeky toy collector, and to have toys of your own characters is unbelievably cool.
The stronger the participation of the female characters, the better the movie. They knew that in the old days, when women stars were equally as important as men.
Shore Leave is the one who evolved the most - because he started as a one-off joke because we were gagging on how the G.I. Joe vocationally specific-themed characters reminded us of the Village People. We made a sassy Village People kind of guy, and then we brought him back.
Today's youth cannot miss something they have never known, but I fear that there are no current fictional characters whose impact and influence will last with such abiding affection into their 'sore and yellow' as this splendid man's creations have in mine!
Whether it is the cavemen in the caves thousands of years ago, Shakespeare plays, television, movies and books, stories and characters take us on a journey. All I do is tell those stories without scripts and without actors.
I don't want to do an action movie, because I've acted in them, and they're so boring to do, because they're so technical. The headache of that is daunting. But, if it were an action movie with really interesting characters, how great would that be?
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 their hearts.
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 liked 35 and in both my novels that is the age of the lead characters. I tried making them my age but they just seemed to keep moaning about stuff.
But I always wanted my characters to be more than cyphers for the failings of their world. And I never had to look too hard to find a part of myself in them.
I'm used to playing characters who have a lot to say but don't know how to say it.
I am a tremendous 'Star Wars' fan; I know the story means an enormous love to me. I love the characters.
Well, the years from 10 to 20, when your body, mind and everything is like changing every five minutes, can be pretty torturing. And most of the interesting characters, I think, are somewhat tortured or torturous. I'm 20 now, so I'm only just an adult.
I consciously try not to play favorites with my characters or my books.
I don't want to write lines where characters tell me exactly how they feel; I want to see people talk about anything but their feelings, like they do in real life.
The thing I respond to the most is just great writing, interesting characters. I like to think that there is something fun about playing a character that has a lot of authority in her own life.
The heart and soul of network programming is series programming, the weekly repetition of characters you like having in your house.
It is easier to influence strong than weak characters in life.
You know, we have to take these characters - who, granted, have their separate personalities but, on a lot of levels, are pretty two-dimensional - and make them into people with flaws, with insecurities.
I very seldom, very seldom, even know what my characters look like.
I'm very sassy. I want to show people in my album I'm not like my characters on TV.
I don't think of the characters as being good or bad because that doesn't help me as a writer.
Meeting everyone you wanted to know in the small surf industry, I saw how the surf trade was made up of characters that not only surfed, but were able to develop a business out of their relationship with their product and the ocean.
Yes, I love playing cartoony characters. Been known for that.
Often the starting point for characters, for me, is finding a little, most minor detail, and I'll go from there.
SOON was the first novel where I used a rough outline. Usually I have characters and an idea and write as a process of discovery. Like working without a net.
People love to talk about how the '70s are the only time they made movies about characters, and adult movies, and complicated people. But in the '80s, they got away with some of those too.
