Bob Greene Quotes

Without going into too much detail, the end of my major action scene, after the climax of the scene, there was one little change that I suggested regarding the way things should turn out. It was in the detail of the tears of blood.

I grew up doing stage work as a child and as a teenager, so the stage is my home where I feel most comfortable.

It's almost jarring when you go to play a different character, after playing someone for so long. I love it!

As the story unfolded, the cast of characters changed to match it.

The reader wants to see something happen between pages one and four hundred, and nothing happens if the characters don't change.

As a writer, I haven't delved into dramatic writing. As an actor, I could always, even more so than comedy, do drama. When you do your comedy and your drama, your acting style doesn't change. If it's a comedy, the situations and the characters might be a little funnier, but you're just trying to be honest.

Anything you put in a play -- any speech -- has got to do one of two things: either define character or push the action of the play along.

Robert McKee says humans naturally seek comfort and stability. Without an inciting incident that disrupts their comfort, they won’t enter into a story. They have to get fired from their job or be forced to sign up for a marathon. A ring has to be purchased. A home has to be sold. The character has to jump into the story, into the discomfort and the fear, otherwise the story will never happen.

I think the success of every novel - if it's a novel of action - depends on the high spots. The thing to do is to say to yourself, 'Which are my big scenes?' and then get every drop of juice out of them. The principle I always go on in writing a novel is to think of the characters in terms of actors in a play. I say to myself, if a big name were playing this part, and if he found that after a strong first act he had practically nothing to do in the second act, he would walk out. Now, then, can I twist the story so as to give him plenty to do all the way through?

I've played my fair share of unpleasant character, and I have to tell you that you sleep better when you're playing fun characters. You think you don't take it home with you, at the end of the filming day, but subconsciously, there's something floating around in the background there.

Habits are formed, not at one stroke, but gradually and insensibly; so that, unless vigilant care be employed, a great change may come over the character without our being conscious of any.

A saint abroad, and a devil at home.

In dramatic writing, the very essence is character change. The character at the end is not the same as he was at the beginning. He's changed-psychologically, maybe even physically.

In the Confucian tradition is a simple formula that appeals to me deeply: 'If there is righteousness in the heart, there will be beauty in the character. If there is beauty in the character, there will be harmony in the home. If there is harmony in the home, there will be order in the nation. If there is order in the nation, there will be peace in the world.' I urge everyone to reflect deeply on these words, as simple as they are profound.

Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them in order that the reader may see what they are made of.

Flora, always tall, had grown to be very broad too, and short of breath; but that was not much. Flora, whom he had left a lily, had become a peony; but that was not much. Flora, who had seemed enchanting in all she said and thought, was diffuse and silly. That was much. Flora, who had been spoiled and artless long ago, was determined to be spoiled and artless now. That was a fatal blow.

I had to be on the set for 'Who Framed Roger Rabbit' because my character was interacting with Bob Hoskins. It's a lot of 'hurry up and wait.' So there I was, at 2 a.m., sitting in a trailer at Griffith Park trying to stay awake. And I said to myself, 'This stinks.' The way I do it is better. I go into the studio about 10 a.m. There's no makeup to worry about. I can wear whatever I want. As soon I get there, I'm good to go. I record my stuff and go home.

It feels amazing to be back on set. It feels like home, even though the territory is a little bit unfamiliar because it's a new show, it's a new character, but once you get in the groove and you start to settle in and trust the moment, you start to really feel at home.

You end up loving every character that you play but a lot of the people I've played, I should just say for myself, I played, I wouldn't necessarily want to continue playing them. I've done them. It's like going on a trip. You go, you're amazed, you're glad you're there but you're glad to get home. And that's how I feel most of the time.

Somewhere in the back of my brain there exists this certainty: The body is no more than a costume, and can be changed at will. That the changing of bodies, like costumes, would make me into a different character, a character who might, finally, be alright.

With voice acting, it liberates you to play characters you'd never do in a million years because you're physically not right. You can show up looking like hell, you don't have to memorize your lines because you can read them right off the page, and you get to play the most fun parts. You come in and you kick everyone's ass and you get your own ass kicked, and then you go home.

To write drama is to leave a can of Coke by the side of the road. Then, sit on that can of Coke. Where's the can of Coke now?

Remember that you are an actor in a play, and that the Playwright chooses the manner of it: If he wants you to act a poor man you must act the part with all your powers; and so if your part be a cripple or a magistrate or a plain man. For your business is to act the character that is given you and act it well. The choice of the cast is Another's.

Home is the first and most important school of character. It is there that every human being receives his best moral training, or his worst; for it is there that he imbibes those principles of conduct which endure through manhood, and cease only with life.

In order to get the things I want, it helps me to pretend I’m a figure in a daytime drama, a schemer. Soap opera characters make emphatic pronouncements. They ball up their fists and state their goals out loud. ‘I will destroy Buchanan Enterprises,’ they say. ‘Phoebe Wallingford will pay for what she’s done to our family.’ Walking home with the back half of the twelve-foot ladder, I turned to look in the direction of Hugh’s loft. ‘You will be mine,’ I commanded.