Nicholson Baker Quotes

It's kind of amazing; I don't know anything. It's an interesting way to work where you're living in the moment and making decisions for your character in the moment. You have to go with your gut on everything - try not to over-think things. That tends to make me doubt what I did, but then that's always the case. I'm a worrier. I have to accept that and just be a worrier.

The Nature of Familiar Letters, written, as it were, to the Moment, while the Heart is agitated by Hopes and Fears, on Events undecided, must plead an Excuse for the Bulk of a Collection of this Kind. Mere Facts and Characters might be comprised in a much smaller Compass: But, would they be equally interesting?

My brand is good storytelling. I really want [my company] Hillman Grad Productions to be associated with great stories, interesting characters; things that are three-dimensional and feel honest.

I find that the more I depend on real life, the less interesting the story is. It's much more common for me to take something that almost-happened, or I wish had happened, and then follow that possibility.

When you find theater writing like in the theater on film but it's realistic, it doesn't matter who the character is, you want to do it.

Basically the movies I make are my life, so I choose how I want to live my life for the next two years. So that's a decision I have to make. At some point if I feel there are enough elements - it doesn't even have to have great characters or great stories - it's just elements that can get my excitement and curiosity for one or two years, then I'll jump in and I'll find out what that is. Then I have to do [interviews like this] and rationalize why I do this.

One of my favorite things about the Kung Fu Panda 3 is the look of it. We never go for realism. I think a lot of time when people go for 3D that's the mistake. Because we're never going for full realism - for computer generated live action films like Avatar the goal is realism, to make the audience feel like they are seeing something that is real. Lord of the Rings had character design and environments to make it look real, whereas we aren't going for that, we are going for something that is theatrically, viscerally, and emotionally real.

I feel that discussing story-writing in terms of plot, character, and theme is like trying to describe the expression on a face by saying where the eyes, nose, and mouth are.

You're more than Dauntless," he says in a low voice. "But if you want to be just like them, hurling yourself into ridiculous situations for no reason and retaliating against your enemies without any regard for what's ethical, go right ahead. I thought you were better than that, but maybe I was wrong.

I just love to act. It's my favorite thing to do in the world, and what keeps it interesting, to me, is the creative challenge. So, different kinds of characters, that's what I just love to do.

Oliver Twist has asked for more!

Usually there is a paradox in what a character wants. A conflict is built deeply within them. And then you put them in motion, throw everything at them until they reveal themselves further.

I don't want to sound like a heroic woman or to seem full of myself, but I do have a core of trust that I'll figure things out and find my way. And if whatever I try is not a good experience, even that is a good experience. If something turns out lousy, it's interesting.

OCD, we discovered is a lot of different things-it's not just washing your hands, it's whatever you're obsessed with. It can be just the way you hold a pen, and you always have to have it a certain way or you have to eat your food, it depends. It's something that, as a character I thought was really interesting because sometimes it's used in a film where it is OCD and sometimes it's strategic.

If there is anything I hate in a woman, it's want of character.

For me to bring a character to life, you've got to be able to find your own truth.

Writing, for me, is a little like wood carving. You find the lump of tree (the big central theme that gets you started), and you start cutting the shape that you think you want it to be. But you find, if you do it right, that the wood has a grain of its own (characters develop and present new insights, concentrated thinking about the story opens new avenues). If you're sensible, you work with the grain and, if you come across a knot hole, you incorporate that into the design. This is not the same as 'making it up as you go along'; it's a very careful process of control.

Who we are matters immeasurably more than what we know or who we want to be.

I'm always open to not necessarily to do leading roles because I want to do roles that are the best, character role. And sometimes, it's not going to be a leading role. It's going to be a smaller, supporting role. So really, I'm open to doing anything.

You have what is known as a lot of character, meaning you can be wrong at the top of your lungs.

If you wanna do a film where you have a big scope, you've got to make your characters relatable and genuine.

You put on a face for the public. The face isn't false; it's just another side of you. If it were false, you couldn't last. People want something real and natural, and if they catch you acting, you're dead. It has to look real. In order to look real, it has to be real, and I've always thought of the characters I've played as real people.

It doesn't matter if your lead character is good or bad. He just has to be interesting, and he has to be good at what he does.

When I am writing I don't set a certain number of pages. I do know that the further into a script I get the faster it goes. As soon as you start making decisions you start cutting off all of the other possibilities of things that could happen. So with every decision that you make you are removing a whole bunch of other possibilities of where that story can go or what that character can do. So when I get maybe 2/3's of the way through I can see very clearly where it is going to go.

So in the drafting process, whenever I would discover something about what my character wanted or didn't want, I immediately just wanted my character to admit to that so I could get to the next, more interesting level in the story.