Steve Schirripa Quotes

You can't be scared of death. When that time comes, it comes.

No one can outrun death. It will catch up to all of us eventually.

A brief short story may require only a few paragraphs after the climax. On the other hand, in his massive novel 'The World According to Garp,' John Irving's denouement consisted of 10 separate sections, each devoted to an individual character's fate and each almost a story in itself.

I feel like if a film is well-written, then the character's arc is complete. There really is very little room to expand on that afterwards.

With films, you get to develop a set of characters, and then, at the end of the film, you have to throw them away.

I left it entirely in the hands of the 'Emmerdale' team and had no input into how Andy would leave. I put my full trust in them to come up with a way for him to leave that was fitting for the character.

I don't fear death. If it happens, it was meant to happen.

SOONER OR LATER ALL MEN MUST DIE. EVERYTHING DIES IN THE END. I CAN BE ROBBED BUT NEVER DENIED, I TOLD MYSELF. WHY WORRY? “I too cannot be cheated,” snapped Fate.

Death takes no bribes.

All stories, if continued far enough, end in death.

If it's your time to go, it's your time to go.

I think if you've held onto a character for several years and then you're getting rid of that character, it's going to be traumatic.

The sole equality on earth is death.

A novel is utterly your own creation, a very private process. I think of a novel as a noun and a screenplay as a verb. In a novel, very little needs to happen; you can explore a person's memories and thoughts and fantasies. In a screenplay, it's all action; you must push the story on.

Among all the vicissitudes of life, which vary in each individual's experience, there is one event which sooner or later comes to everyone - Death!

Film is so much to do with perfection and how differently you can feel about someone at the beginning of the film and the end of the film.

Despise not death, but welcome it, for nature wills it like all else.

There's a conventional reaction when you see a star: You anticipate he'll be a part of a particular denouement down the road, so you don't worry for that character.

Madame, all stories, if continued far enough, end in death, and he is no true-story teller who would keep that from you.

The thing about death is that it's honest.

I'm interested in characters who should know better, who know they should give up, move on, accept life as it is, with all its constraints - life, death, time - but don't.

If a character dies, you get to do a big, juicy death scene. But the flip side is you're out of the sequel, which is where the real money is.

One pleasure of working on a trilogy is watching characters warp and grow over time.

I mean, whatever kills you kills you, and your death is authentic no matter how you die.

When it's your time, it is your time.