Character Growth Quotes

If anyone would like to acquire humility, I can, I think, tell him the first step. The first step is to realize that one is proud. And a biggish step, too. At least, nothing whatever can be done before it. If you think you are not conceited, it means that you are very conceited indeed.

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

Great men are not born great, they grow great . . .

The life of a character doesn't just exist between action and cut.

Some literature is knowledge, some is just data. But if I can get a "happy" ending - which is when for the characters I'm writing about, something happens that they move from wherever they are in the beginning to knowledge or wisdom, they know something they never would have acknowledged or realized if it hadn't been for my book - that for me is what literature does.

'Frasier' works because we stay focused on the idea that - how he continues to grow. It is not that you are really - the mission is not to try to keep him fresh; the idea is if you naturally put a character in a situation that demands growth of him, then he will remain fresh.

Becoming rich isn't as much about getting rich financially as about whom you become, in character and mind, to get rich.

There is more meat and mileage in complex characters, like 'Running with Scissors.'

I always look for characters that will hopefully develop into a more powerful symbol.

A great novel is a kind of conversion experience. We come away from it changed.

The thing with '24' is that because it moves so much, it's a challenge, and sometimes things get revealed about these characters as you go.

There is nothing like being able to develop a three-dimensional character over a long period of time. Sometimes you aren't able to fully portray a character because you only have a couple of scenes to do it in, and you don't get the full life and background of that character.

I don't believe, in a show like ours, that you really want to see character growth. That's just my opinion. Maybe to a small degree, but nothing serious. To that end, it doesn't have the same importance that it would have, if you were on an hour-long show. I think an audience gets really hungry for a character to grow and change on an hour-long show, and I think I would be more antsy.

The thing I respond to the most is just great writing, interesting characters. I like to think that there is something fun about playing a character that has a lot of authority in her own life.

I wouldn't want to play a character that knew everything and knew where to go. It is much more interesting playing a character that is vulnerable trying to be strong. It makes for better TV.

TNA has been great as far as allowing me to have more input creatively on my character and the direction of my character and promos.

For me, it's first about the characters. I look for a character who is intriguing and challenging and different from what I've done before.

Any time you learn something new about your character, that's really exciting.

And I have the support of the writers: I have a great relationship with the creative team, and they have a good hold of my character and my personality, and they come up with some great stuff, and I'm forever trying to change it up, keep it fresh.

People become more interesting from about 25 - they develop character and their personalities come out.

It's people politics, people dynamics that make a show really good, whether it's 'Desperate Housewives' or 'Lost' or 'The Sopranos.' It's the people we've grown to love or otherwise.

I'd been writing my own coming-of-age story, and I got to take a lot of that energy and a lot of those moments and themes that I wanted to explore in a much smaller film and then apply them to 'Spider-Man: Homecoming.'

It's the opposite on a sitcom. People crave the character to not learn from their mistakes. They want to just see the situation, and then see how that character is going to react to that particular chaotic catastrophe. That's just my take on it, anyway. I don't really get too hung up on what the future of the show is.

When I did the pilot, Mort was very real to me. When I got through with the ten weeks, Maura is even more real to me.

To me, it all comes down to things being character-driven. It's hard for me to look beyond that. CG and all this cool stuff - so be it. But to me, it pretty much begins and ends with character-driven plots rather than technologically-driven plots.