Charles Melton Quotes

I want to give my characters nuance.

I try to distinguish my characters from each other.

I try to create characters that I am fascinated by on some level or intrigued by or can't stand.

You have to add some sort of dimension to each of your characters because everyone has their own layers.

The thing with videogame characters is that they tend to be really undercooked, and people don't take the time to really flesh them out. They don't treat them with the respect that a writer writing characters in any other medium would treat their character.

Creating characters is like throwing together ingredients for a recipe. I take characteristics I like and dislike in real people I know, or know of, and use them to embellish and define characters.

Also, in my acting, I feel very much like a storyteller, exploring the flaws of the characters that I interpret. I look for the imperfections, and I love a character that is just so flawed.

To me, the struggle is to try to make a less-well-written or less-well-rounded character and find who they are. If you really get it, and it's all on the page, then it's really just gonna pop out at you.

When you create a character, you create it for yourself - you do whatever you want. It's your job to explore it in as many different avenues as you can in order to make it a fully wounded character.

I want to give every single character the dimensions and complexity of a main character.

I feel like a lot of characters on TV don't have the time to tell that many aspects of a character's story and personality.

The film industry is mostly about unidimensional characters.

Outside books, we avoid colorful characters.

What makes characters real are details, and if you're crafting a person from scratch, you're probably not going to pay as much attention to a question like, 'Does this person bite their nails?'

The world is full of novels in which characters simply say and do. There are certainly legitimate genres in which this is sufficient. But in real and lasting writing the character is.

Look at the Coen brothers. All their minor characters are as interesting as their protagonists. If the smaller characters are well-written, the whole world of the film becomes enriched. It's not the size of the thing, but the detail.

And I have the support of the writers: I have a great relationship with the creative team, and they have a good hold of my character and my personality, and they come up with some great stuff, and I'm forever trying to change it up, keep it fresh.

My first job is to write the characters as full and authentic people as well as I can.

You've got to leave the reader with more than just a name and a costume - they need to know who the character is, what they're like, what kind of attitude they have, what sort of role they play.

For every book that I write... I develop a history for each person and make sure they are well rounded and flawed. You have to know everything about them from their shoe size, to where they went to school, to what their first pet was, to what they like to eat, to what they want out of life.

A while ago, I did a television adaptation of 'Bleak House,' and the character I played, as far as I was concerned, had no redeeming features whatsoever. I wasn't about to try to find any; I didn't need to.

When I create a character, it happens in layers. The more I write and revise, the better I understand the characters.

The characters, to me, in 'Homeland' are not one note in any way.

A character who is thought-out is not born, he or she is contrived. A born character is round, a thought-out character is flat.

'Push' had a story, 'The Paperboy' story you could just throw up in the air and shoot holes through the book because the story wasn't as strong. But I felt the characters were stronger in 'The Paperboy'; they were vivid.