I get very tired of books that feel emotionally empty. I would much rather have writers err on the side of being overly sentimental than not. I think that the perfect balance is a story that moves you without being maudlin, but I don't enjoy books that are empty of emotion and there's no connection to the characters.
That's true, you don't want to let anybody down and here are millions of people who've been waiting for their favorite characters to be brought to life and you don't want to disappoint.
People buy a game because they like the game and they want to play the game. And there are certain characters in games that people like, obviously. I don't know if a certain character's voice or lack of a certain character's voice can cause somebody to buy or not buy a game.
Playing characters allows me to do things I may not always do, while singing in concerts allows me to really find my own voice and grow.
You'll work hard to create characters that are compelling and unforgettable. But in the end, it's the story that matters.
The Simpsons can go anywhere in the world and not worry about any budgetary issues. However, even when the show has had its run, I think the characters can go on in perpetuity.
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 can't believe it when writers tell me 'I don't want to show my work to anybody'.
I believe we need more culturally diverse books - about disabled characters, though not about their disability, about people with different sexual orientations, or a boy who is a cross-dresser. We need to reflect the diversity of our society.
When you're really young, you tend to fall in love with characters. If you start seeing the same type of character everywhere and realize that they don't look like you, or they don't speak like you, you start wanting to change who you are. That's something that I did when I was a young kid.
I think what makes Narnia a magical place is that it offers escapism - escapism from a world that is so different from the reality known by the characters and the reality known by the fans.
I like playing dark, offbeat, quirky characters.
I like the superhero comic books, and I like to see what the actors do creatively with the characters and how they bring these superheroes to life in the movies.
My greatest fear is feeling like a professional novelist. Somebody who creates characters, who sits down and has pieces of paper taped to the wall - what's going to happen in this scene, or this act. What I like is for it to be a much more scary, sloppy reflection of who I am.
I think that's something that people feel that I do really well; I don't mind it, because ultimately I think the characters I play move people, and who wouldn't want to move people?
Because they feel that without them telling you to do this, you wouldn't have had the characters that you have, you wouldn't have the book that you have.
It's hard to leave behind scenes and characters I am in love with.
I think, ultimately, if you create characters that people like and can relate to, your characters are grounded on a human level even if your cars are not.
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 start drawing, and eventually the characters involve themselves in a situation. Then in the end, I go back and try to cut out most of the preachments.
Because I never plan anything out ahead of time, I'm always in the process of learning about my characters. Without a biographical sketch to guide me, I discover things about my heroines as the stories unfold. Only in 'Body Double' did I discover that Maura's mother was a serial killer.
A movie as specific as 'Heathers,' which took place in a specific time and specific place and in which many of the characters got killed off, I never thought it made sense to see a sequel.
I usually dislike second books in series. The only second installment I ever loved was 'The Empire Strikes Back,' and I think that was wonderful because it evolved the characters while not seeming like a bridge.
Once I got over the fear of writing female characters, it actually came quite easily and I was really happy with it. I just thought about girls I knew really, really well and I'd just have conversations with them and tried to relay how they talk about certain things.
In westerns, you meet a hardy bunch of characters. There is no jealousy on such pictures.
You know what I would like to do: make a film with actors standing in empty space so that the spectator would have to imagine the background of the characters.
European films were what it was about for me - the sensations I needed, the depth, the storytelling, the characters, the directors, and the freedom that you can't really find in American films.
Parents look at me like I'm somebody pretty important, and say, We were raised on your characters, and now we're enjoying them all over again with our children.
I have just been lucky to get challenging characters every time.
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.
TV's hard work. I don't know how the hell Angela Lansbury survived doing 'Murder, She Wrote' all those years. And sure, everyone wants to be Bruce Willis or George Clooney - they want to be in film for the range of characters you get to play.
Certain characters, mostly heroes, have to be the straight silent type; that is part of the make-up.
I'm a good son, a good father, a good husband - I've been married to the same woman for 30 years. I'm a good friend. I finished college, I have my education, I donate money anonymously. So when people criticize the kind of characters that I play on screen, I go, 'You know, that's part of history.'
When I did these psychological characters like the drug addicts, the ones who were rejected and dejected, I started to feel a sort of melancholia which was very unnatural for me to have at a teenage. Then I avoided those characters.
I don't have sentimental attachments to characters at all.
There are great characters on television.
I'm not in the business of meddling with people's destinies - and yes, my characters are real people to me. They have histories and thoughts and yearnings and hurts and misgivings and pleasures that don't belong to me.
