Character Reaction Quotes

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.

For me, mood is something you have to ignore. I try to put myself in that position when I'm shooting and try to react the way I would. I try not to play funny if it doesn't call for that.

In 'The Smurfs,' I was actually a live action character. So, I was a real person in that movie. But I was working with animated characters, which is very strange because they're off recording their work, and we're kind of reacting to nothing when we're doing the film.

I start out giving characters archetypes and parameters. Once I know the basics and have a rudimentary model, it's easier to carve unique curves and edges. It's quite easy to guess how a character is going to react if you know their background, and at a certain point, you realize you understand them personally.

Minias smiled. Great. Another charming demon. I sort of prefer the insane ones.

That's kind of my job in the writer's room. I'm always the guy going, like, 'People wouldn't say that there. They wouldn't say that.' Like, I hate when I watch sitcoms and something crazy happens, and people just kind of go, 'Huh?' and then they just go on.

As an actor, you can really play the intensity and gravity and seriousness of the moment, and just rely on the circumstances being funny. The joke is kind of the situation you're in, or the way you're reacting to something, as opposed to the characters just saying something witty.

One of the things an actor tries to access is immediacy, so that you feel like you're experiencing it for the first time. But when you're playing a character who knows what's going to happen and can't stop himself to reacting although he knows he can't stop himself from reacting, there's a whole separate set of things to consider.

My kind [vampires] does not surprise easily," he said. "You surprised me, this morning. I have thus used up my full quota of shock and consternation for some interval." I stared at him. "You made a *joke*." "I have heard this kind of thing may happen.

My demon's a girl? Gideon said, astonished.

I like it when characters respond to things that are outrageous and movie-like in an authentic way.

When you see bad acting, that's usually what it is - they're not listening to the other characters. It's always hard with first-time actors to get them in that moment where they are really listening to the other characters and reacting to the other characters.

I think good radio often uses the techniques of fiction: characters, scenes, a big urgent emotional question. And as in the best fiction, tone counts for a lot. But a lot of effective and interesting radio is based on one character who reacts to the world.

I love taking a character and raining holy hell down on them and seeing how they respond, how they react. It's one of the things I do in almost all my books - my protagonist is put through a very stressful situation that tests their strength and their psychological acuity. That's one of the core components of who I am as a writer.

In fiction, a reaction shot is a brief portrayal of how your character reacts to something that someone else has done. In contrast to more direct character building, your guy doesn't initiate the sequence; he completes it. Exactly how he completes it can tell readers a lot about him.

I really love idiot, enlightened characters - these characters who fail to engage with the drama of their immediate circumstances; they fail to be reactive and enrolled by drama as it happens around them.

Religion theme aside, most of the time I'm in some sort of comedy and I'm a straight man and it's really just, let's wind this guy up and see him explode.

Merlin’s beard, what is Xenophilius Lovegood wearing? He looks like an omelet.

I'll be the first to admit it - after the first episode, I wasn't sold on Peter Capaldi as the new Doctor of 'Doctor Who,' with the bewildered Clara following behind like a lost puppy, haphazardly flinging aggression around like cream pies in a 'Three Stooges' marathon.

My books are never about the crimes. They are about how the characters react to the crimes.

Sometimes I think too much, or sometimes I don't think enough as the character. Sometimes you just miss a moment, or sometimes you hear something that a character's saying that you haven't heard before and you react differently.

You have more creative freedom with writing, in certain ways, because you can create everything that happens. But, as an actor you also have creative freedom because you don't so much focus on what has to move the story along, and only on how your character is reacting to situations.

I think that's what makes characters interesting - when you paint a person into a corner, and you see what they do to get out of that corner. It's what makes drama drama.

There are two questions that you ask yourself as a writer, and one of them is, 'But why?' The question that takes the book forward is, 'What if? What if x y or z happened? How would those characters react?'

I went on the 'Outlander' Facebook page - this is when I kind of first got a sense of what people thought about Laoghaire, because I went on the 'Outlander' Facebook page and found this picture of myself, and there were all these comments, and a lot of them were great.