Pedro Almodovar Quotes

Whenever I write, I write very dialogue-heavy things because I love to force my characters to interact with one another.

The scene is never really about moving the story forward on 'Breaking Bad.' That's the functional veneer of the scene, but it's always about what's going on with the characters.

I have always believed that if a film has only two characters, but they do not make any sense, then the film's meaningless.

The decision for me was whether to have 'The Father' be a book that told a story - from the point of view of this speaker, the daughter - without, as in the earlier books, then having a section on something else and a section on something else.

With all of the qualities of the scene-setting, the dialogue, the place and time and the time and place in which your characters move. And I want to move with the characters, move with them and describe the world in which they are living.

I like dialogue in novels. I wanted to avoid laying history on with a trowel - appearing to be lecturing, as opposed to the characters lecturing their children or students. Dialogue can humanise the story and make it go down somewhat more smoothly.

So much of comics are dictated by characters talking to one another - or in focused spaces where 'the camera' has to stay in pretty close on what's going on.

Most of the time, when I'm writing, I'm writing for myself. I'm thinking, 'What will my character say at this time? What will come out of her mouth?' I create individuals so real to me, I sometimes start talking to them. Then I let them loose on the page.

I just like a good story. I want the story to be good and I want the character to be different than the last one I played. That's not always possible, but that's what I want.

In a normal movie, you'd never see one guy talk for an entire page, whether good or bad.

I think I try to look at all my films and break them down because, at the end of the day, it's about creating characters that you like.

There's nothing interesting about seeing our characters for an hour and a half do some flashy flying in the sky and beating up on some buildings. It's boring, and people don't want that anymore. They want character, and they want story.

A script writer usually manipulates his characters in accordance to the script.

Rather than just making a movie about video games, I wanted to start with the character and what the character was going through.

You have to be involved and relate to the characters in order to make a film that is true emotionally.

A certain luxury when you get to writing a novel is to have the space to have your characters just banter.

If I'm practicing making up what the characters will do, it's never good. In fact, when I catch myself doing that, I try to get rid of that section, and try and let them start making the decisions.

For me, the dialogue is the easiest part of writing. It just always seems so obvious what a character will say. Maybe it's because I talk too much!

When you write, you hear the characters speaking to you as you take dictation from what they say. And obviously, they had particular personalities when you hear them.

There are two different forms of storytelling: Novels tend to come from the inside of a character, and movies tend to look at them from the outside in relation to others in their world.

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

The first thing I read was of my character on the phone talking to Sydney's fiance. Though short, it was so beautifully written, and it made me laugh. I thought if I wanted to play a character, this would be it.

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.

When you're reading, like, a character's thoughts, or when it's in first person, you're reading kind of their own story, so you have the opportunity to see what makes that character complex or complicated. And to me, that's what the whole point of fiction is.

I think 'Cool Hand Luke' was probably the first movie in which I was aware of the writing as its own separate thing. It was that speech when the guy reads Paul Newman the riot act. The speech about going in the box.