Kathleen Kennedy Quotes

Animation scripts tend to be much more descriptive and are lighter on dialogue.

I made Tony a person. For me, Tony was real. I made him become a human being, and that affected the animation and everything.

If people don't connect to Eric Carter's struggles, I'm sure they'll find a character in this series to connect to. That's ultimately what it's about for me.

Coming from the world of animation, every single line counts; every single gesture counts. You put thought into every single one of those things and the way a frame is composed.

If we get caught up in a story, it's because we've started to care about the characters, and that can only happen if we've moved beneath the surface.

Yet as a director, I don't feel you have to identify with your characters as a requirement to make a movie.

You can be moved by an animated film and not by a live action film. There could be great inspiration in and humanity in that animated story.

Literature sucks you into another psyche. So the creation of empathy necessarily influences how you'll behave to other people.

Fiction, at its best, is a radical act of intimacy. It seeks to join, to merge, to know deeply; and, as with intimacy, there is a way in which it cannot be faked.

It's sort of the most important thing for acting, is to listen to the person you're dealing with.

Because TV is mostly close up, it has to be fast. And because it has to be fast, you don't have time to explain completely, by a sequence shot, what's happening between people. So instead of experiencing what's happening, say, when a couple is dancing, dialogue is used to explain.

I shoot people in a way that makes the audience feel equal to them. And it's hard to express and it's hard to execute but I think it works on every level - the choice of the material the choice of the actor, my relationship with the actor, and so on.

Once you've established where you are, you go to the character and elaborate on expressions and action.

I think it's very easy to disgust the reader with violence on the page - that's incredibly easy - but it's far harder to make a reader care about a character.

With my writing, what I want to do is humanize the young people I write about.

If you look at the game and everything, it's not quite like looking at an animated film, because that's total character. This, this is really movement, but it's got funny little things if you look for the humor. They're actually getting to the character.

The nice thing about animation is that you can realise your inventions without understanding all the hard theory.

It's a different way of getting across an emotion. You're trying to get it across to the animator because the animator is inspired by the voicetrack in terms of how to animate the character.

I think with animation there's a certain freedom that you're given. You don't have a thought at the back of your mind, that worry that you'll have to cut and go back to the top of the scene. You're not working with anyone else from the cast. It's just you.

The funny thing is that I feel close to all my characters. Deep, deep inside them all.

There's something about seeing this little inanimate object coming to life that's just very exciting. That's why with 'Nightmare' I held out for so long to do it.

I care about all the characters I play, and I get quite defensive about them.

I am not interested in entertaining people. I think being an actor provides an opportunity to give people an experience they can connect to, reflect on, learn from, laugh at.

I had begun to write novels because of a fierce, self-serving impulse in my own heart. I had not considered the potential in a book for felt communion, the bright largesse of intimately participating in the lives of other people.

The most important thing in the face is the eyes, and if you can make the eyes talk, you're halfway there.