Human Characters Quotes

I think we kind of changed how people did humans in CG animation after. If you look at films before 'Incredibles,' they tended to be photorealistic in a clunky and ugly way, with pores in their skin and too many eyelashes. It's kind of disturbing. And since, the designs have gotten a lot more playful in a lot of people's films, not just ours.

Every paragraph should accomplish two goals: advance the story, and develop your characters as complex human beings.

I like to try to make the characters I play be as human as possible.

Marvel has this tradition, and I think that Sony has this tradition too, of hiring directors for Spider-Man who are dramatic directors. That are directors who are interested in human beings, in characters, in drama, and who are really good with actors. That kind of feels like a Spider-Man director to me. And because Spider-Man is always as big as the films that are being made at Marvel, it always is character and story. You can never take that out.

Oh, I'm dying to play Donald Trump someday, just because he's an unbelievable character. I'm a character actor; that's what you look for: outsized human beings.

I thought Godzilla was a mess, the monster had no character and the humans didn't either. They forgot to make the movie that went along with all these wonderful effects.

The capacity to create [visual] effects in the computer has made the job easier, but it has also introduced the complexity that you can with a few more keystrokes generate such a busy canvas that the eye doesn't know where to go. You lose human scale on an event and you're just wowed by the kinetics and the visualization. But, often in those cases I feel you lose touch with the human characters and what it is that they would feel and how they might feel, and that's still the most important part.

Right up till the 1980s, SF envisioned giant mainframe computers that ran everything remotely, that ingested huge amounts of information and regurgitated it in startling ways, and that behaved (or were programmed to behave) very much like human beings... Now we have 14-year-olds with more computing power on their desktops than existed in the entire world in 1960. But computers in fiction are still behaving in much the same way as they did in the Sixties. That's because in fiction [artificial intelligence] has to follow the laws of dramatic logic, just like human characters.

The tree or the road - the ones I know of, finally they are the only characters I know really. The human characters I don't know. So there is both something I know and something I don't know. And I put them together.

Well-written plays deserve to be learned from and understood properly, both by actors and audiences alike, and Rattigan's very human characters help us do that.

My films are personal-voice-driven films about human characters and the place we live. Technically, I'm an independent filmmaker.

Now that we've seen broader representation of trans identities, I think it's safer to explore the fault in these trans characters and make them entirely human and three dimensional.

Fiction doesn't appeal to me because it can describe physical appearances exhaustively or because it can offer access to the inner depths of an array of human characters - neither that kind of "realism" of bodily surfaces nor of individual psychologies seems particularly realistic to me.

You have to create characters - certainly in series TV - who people engage with. They don't have to be nice; you don't have to agree with them. But they do have to be compulsively watchable and believable and human, and you want to know what happens to them.

You become a different writer when you approach a short story. When things are not always having to represent other things, you find real human beings begin to cautiously appear on your pages.

It's important for people of colour to have the opportunities to play characters that are as nuanced - as three-dimensional, as human - as the characters who we traditionally see getting to play the protagonist. The good guys and the bad guys. The reason that is important is because it's a better reflection of the reality of the world we live in.

Horror movies often work better when we have a stake in the game. The more we care about the characters, the more human they are to us, the more appealing they are to us and the more effective the horror tends to be.

When you deal with nonfiction you deal with human characters.

Anyone could identify with the human aspect of the characters.

Yes, the first job I had at the studio was Snow White. I don't like the term particularly, but I got stuck with the human characters. They just didn't have that many people who could draw humans.

I wrote 'Airborn' after completing three books about bats. I loved my bats, but what a treat it was to write about humans again. They could eat food other than midges and mosquitoes, they wore clothing, they slept in beds - all this struck me as wonderfully novel.

Disney did well with human characters but only in dramas, not comedy.

My goal is to broaden and deepen the range of African-American characters on television, so I always try to show human beings.

Whereas Superman is a godlike guy from another planet and Batman is this mysterious, unknowable billionaire, everyone in 'Spider-Man' is human and flawed.

The great mystery is why robots come off so well in science-fiction films when the human characters are often so astoundingly wooden.