Kristin Davis Quotes

I just want to be a part of great stories, whether I'm part of an amazing ensemble cast or I'm leading it or the antagonist or whatever.

It's bad writing, however naturalistic it's written, that's where you have to do your best acting.

Disney acting is a little more difficult than many people think it is. People feel like the characters aren't deep, but as an actor, you try to do everything you can do the best of your ability.

Whenever people say they didn't like the main character of a book, they mean they didn't like the book. The main character has to be a friend? I don't get that.

I often think of the novel as a form that celebrates social groups, and the short story being a form that is capable of celebrating an individual or a sort of insular little pair of people.

I want to look at this character from all points of view. I know I don't want to make them all good or all bad or all anything... the story itself often helps create the character.

It always takes awhile to find out who the characters are.

I can't help slightly falling in love with every character I write about. And I quite like writing about people who are vilified.

The fact that I like to make characters doesn't mean that I like to watch my characters being made, my performance.

None of the characters I've played are really like me. That would be boring. That wouldn't be acting.

You never want to be in a position where your reader feels like you're passing judgment on your own characters. Any novel where you feel like the author is talking to the reader over the characters' heads is in a bad place.

Nothing taxes an actor more thoroughly than a good audiobook.

To me, characters are at the heart of great literature.

You spend so much time writing a character the way I did with Buddy Baker and then Green Arrow that you start to care about them. And you almost think of them as people, you know?

When I first began to have the initial idea for 'Heartsease,' I just wrote a skeleton story; that is, I started her off as this young, bright 16-year-old and then added the events that occurred and where she and other characters fitted in, even writing 3 different endings, as I was not sure where Mary's story would lead to.

The suspense of a novel is not only in the reader, but in the novelist, who is intensely curious about what will happen to the hero.

Action-adventure, that genre, only works for me if you can care about the characters. If the hero's not taking some kind of a journey, then there are no stakes - and no stakes, then you don't care if he lives or dies, wins or loses.

I think one of the few faults in Dickens is that mostly his lead characters are blanks - who is David Copperfield, who is Oliver Twist? And yet he takes such joy in populating the rest of his novels with these fantastic, grotesque people like Pecksmith and so on.

I just love to be able to actually build a character.

Characters who are on screen from start to finish are not necessarily the ones who have the greatest impact.

I tend to spend a lot of time building characters that the reader will believe in and sympathize with.

I don't have a favorite genre. I love to work and live vicariously through every character. It's all about trying to bring the character to life and get the story across in a way that resonates with the audience. It's always interesting and challenging in a gratifying and unique way.

With any role, you're extending yourself and acting out things that never happened to you.

A good novel tells us the truth about its hero; but a bad novel tells us the truth about its author.

My conception of it was that in a normal film you have a story with different movements that program, develop, go a little bit off the trunk, come back, and end.