Kirby Larson Quotes

A mother's example sketches the outline of her child's character.

Ah! how much a mother learns from her child! The constant protection of a helpless being forces us to so strict an alliance with virtue, that a woman never shows to full advantage except as a mother. Then alone can her character expand in the fulfillment of all life's duties and the enjoyment of all its pleasures.

Be what you wish your children to be. Parents have perpetuated by precept and example their own stamp of character to their posterity.

I was a child but weirdly uninhibited. I talked to people and inserted myself in all kinds of absurd situations. I think some of those life experiences influenced me in terms of the main character of The Flamethrowers. But for the parts where the community of artists are speaking above her level of participation, that probably came more out of my experience of being in New York in the '90s as an adult.

I never liked the whole idea of [creating your own] background, if it's not pertinent, where the character lived as a child, and who I was and how I was. That never helped me in any way, so I don't even do that.

Ultimately, if the character is interesting and you said that before: It doesn't matter if it's likable. That's really what it is. If they interest you. If the context in which the characters are set interests you then I think then you're pulled in by it.

It's like having children. You give birth, but then they take on a life of their own. That's what actors do for characters. It's pretty amazing.

One has very little influence upon one's children. Their characters are what they are and one can do nothing to change them.

Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right. The film has a privilege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too: sometimes the footage has amazing qualities that you did not expect.

The first essential character [of civilization], I should say, is forethought. This, indeed, is what mainly distinguishes men from brutes and adults from children.

My God, that scene in Monster Inc. where the monsters realise that their entire world is founded on hurting children -look at that for a change! Two galumphing cartoon characters making a shattering realisation about their world and their role in sustaining it. A truly epic moment. It's stunning.

I don't know how to write a children's book.

What matters most in a child’s development, they say, is not how much information we can stuff into her brain in the first few years. What matters, instead, is whether we are able to help her develop a very different set of qualities, a list that includes persistence, self-control, curiosity, conscientiousness, grit, and self-confidence. Economists refer to these as noncognitive skills, psychologists call them personality traits, and the rest of us sometimes think of them as character.

A lot of characters now on TV have moved into being anti-heroes, but I wanted to be the hero.

I believe that all novels, ... deal with character, and that it is to express character – not to preach doctrines, sing songs, or celebrate the glories of the British Empire, that the form of the novel, so clumsy, verbose, and undramatic, so rich, elastic, and alive, has been evolved ... The great novelists have brought us to see whatever they wish us to see through some character. Otherwise they would not be novelists, but poet, historians, or pamphleteers.

I'm hesitant to do leading man character roles because I think they can be a little boring in terms of needing to be the everyman who navigates the amazing stuff around them.

Kids, if anything, are harder to write for because they are a more discerning audience. They will not stay with you if you go off on a tangent or if you give them extraneous information that doesn't serve the story. You really have to tell a tight story. You have to give them humor and suspense and believable characters. All those things that adults want too, but you have to be really on your game when you're writing for kids.

I'm such a fan of Deadwood. I love the characters in that. They're such wonderful characters. I'm a fan of The Wire. Those are all heavily character-based shows.

I had no idea Savage Season was the beginning of a series. I wrote the second one about three years later. The character of Hap wouldn't stop talking to me, and then there was a third, and over the years nine novels and a collection of stories and some uncollected stories.

Horror movies often work better when we have a stake in the game. The more we care about the characters, the more human they are to us, the more appealing they are to us and the more effective the horror tends to be.

For big Hollywood movies, I'm on the more character-driven side of the equation. So, TV is a natural place for me to be because you've got no choice, but to be character-driven.

At the time, I used to say, "We should market this like Everybody Loves Raymond. It's just a guy dealing with his family." Instead, it was irresistible to show all these funny people. So, I actually think this could be more inviting to a new audience because they can just watch one character, find out what's going on in his life, and then meet another character and find out what's going on in her life, and then see how it intersects the other one.

Helen Lowe writes wonderful stories, yes, but her work also speaks with lyricism to deeper questions of how we treat each other. With lovely prose that brings vivid life to her characters, she creates a universe with people we care about. This is an author with a gift for fantasy.

That movie [A Series of Unfortunate Events] told four books in two hours, and we have two hours per book. So we have eight hours to tell four books, and if people watch we'll get to tell more of them. There's only thirteen books, so there's only going to be two more seasons, but that allows for a lot of time to be in character and to maintain character.

If there is a connection between Harry Potter and my new novel, it's my interest in characters.