Foxy Brown Quotes

After a while, the character sort of took over.

For me to have the opportunity to stay with one character for, God willing, a long period of time, is really exciting.

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.

There were certain things that I tried to do on 'Karamchand.' Initially, they were hated, but eventually everyone loved the characterization.

I take little bits and pieces of ideas that I may or may not believe in but I give them to this character and he runs with them. I have fun with however he handles the situation.

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

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.

You can't take a character anywhere they don't expect the character to go. But within those confines is where creativity lies.

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.

The main characters for 'The Seer and the Sword' made an appearance one night and then haunted me for over five years before I began to write them down. Does that count as inspiration? For me, characters tend to show up, stay on to help with the work of writing their stories, and then occasionally deign to visit after a book is finished.

What I discovered is I don't like to repeat lead characters because one of the most pleasurable things in a book to me is learning about the lead.

I think the ultimate thing in some ways for any writer is to work on a character who's going to have a life for a long time.

Filmmaking is always sort of building a mosaic of this arc of what the character is going through.

I am fine playing 'Law & Order' and even the 'Jurassic' movies to be straight up, as far as the characters being portrayed there, but I never want to stay in straight-up land too long. I always wanted to do something where the character's world gets to be explored.

I remember always feeling lucky with Zoey on 'Nurse Jackie' that... she was new at the very beginning. So that gave her everywhere to go.

What's fun about doing a series is you get to take some time to create the character.

With any project, but especially in television, I always try to look at where the character is starting from and where he's going to end up, and try to find the biggest arc that makes it the most exciting to play.

The Duffers like that; they like watching their characters grow.

There are certain things that I know I don't want to do anymore. Playing out-and-out terrorists who terrorise people and don't actually move the conversation on are not worth doing. So that's probably another reason I don't go back to America, because a lot of it is like that. It's boring, dull, very lazy writing.

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 plot the first 5 or 6 chapters quite minutely, and also the end. So I know where I am going but not how I'm going to get there, which gives characters the chance to develop organically, as happens in real life as you get to know a person.

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.

In a series, you really need to stay open-minded. It's not like a play or a film, where you can create and fully commit to your character's back-story.

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.