Cory Monteith Quotes

In film, because you know where the ending is, characters can change, but in television, you substitute revelation for change, and that can be hard to pull off.

I think what good television does well is that it shows characters evolving.

Being able to stay with a character over the course of years is a gift.

Novels demand a certain complexity of narrative and scope, so it's necessary for the characters to change.

One reason I find all this character growth and narrative swerving so exhilarating is because I never got to do it when I wrote for TV. Our characters needed to remain consistent from week to week.

Characters develop as the book progresses, but any that start to bore me end up in the wastepaper basket. In real life, we may have to put up with tedious people, but not in novels.

Specifically, we talked about making the character of the prince not so charming, at least in the beginning, and I'm playing around with the preconceptions attached to a character. That's really what intrigued me as well because I thought it would be fun to do it.

I love the long-form format of television. I love being able to develop a character, over a long period of time.

I love seeing a story evolve over several books and watching characters develop.

It's nice to create a character, not just within two scenes, but within the journey of a whole movie. It's fun to do that.

Film is so much to do with perfection and how differently you can feel about someone at the beginning of the film and the end of the film.

My character on 'The Good Wife' is a smaller character, and his story arcs are typically season-long, unless it's a big episode for him. His transitions take place over many, many hours.

There is always that thought that you might get stuck with a character. But there's always the notion that every character is always evolving.

I'd never really been in a series, where you see a man at different points and perspectives in his life. Usually it's a film, where I'm playing a character who just comes in and offers something up.

I like taking a character at the most intense moments of their lives and exploring all that in full and then moving on.

There's something really satisfying if you've created a bunch of characters that have withstood 25 episodes.

My sister was the inspiration for the character, the good qualities instilled in the character. The initial inspiration was there, but Stargirl has taken on a life of her own. She's her own character now.

On 'Swingtown,' I think that's when I was able to blend the character-slash-leading lady roles, and that's what I'm doing on 'Once Upon a Time' as well. She's a leading lady, but she's also this character.

I'd love to do a film. I'd love to play a character that I know the beginning, middle and end of.

I'm interested in telling the character's story, not my beliefs, political or otherwise.

Characters can become boring. That's what's tricky about television. It goes on and on - you're playing this same character for five seasons and it gets easy to fall into just walking on the set and assuming you know how to play a scene.

I've often said the reader knows every bit as much about Thorne as I do. When I created him for 'Sleepyhead,' I was determined he should be a character who would develop, book by book, change and grow as we all do, and who - crucially - would be unpredictable.

One pleasure of working on a trilogy is watching characters warp and grow over time.

I usually start with a repulsive character and go on from there.

I suppose with any good writing and interesting characters, you can have that awfully overused word: a journey.