Character Introduction Quotes

If you have a problem with the third act, the real problem is in the first act.

Every ongoing character has to start somewhere.

I sat down and tried to write a story. "Ian MacArthur is a wonderful sweet fellow who wears glasses and peers out of them with delight." That was the first sentence. The problem was that I just couldn't think of the next one. After cleaning my room three times, I decided to leave Ian alone for a while because I was starting to get mad at him.

The situation comes first...the characters...come next...[then] begin to narrate.

Hello, Hazel Levesque.

When Josh and I are recording a record, we're very mindful of how the music will manifest itself live. That's where we have to live every day. When we tour for the next record, I imagine there will be a new story to tell, and we'll introduce new characters.

I can't say too much about it because I don't know a lot. We're not told what's in store for our characters until we turn up to shoot the episode. But it's fair to say that Betty and her son bring a brand new mystery to the street and they will be around all season.

When you tell a story, there are imperatives of structure, of style, of pacing and all of this, that are there simply because you want to make it a good story. When do you introduce your characters? When do you put them onstage, when do you take them off the stage? How do you weave the different threads of the narrative together?

"And we'll call you... hmmm. Pudge." "Huh?" "Pudge," the Colonel said. "Because you're skinny. It's called irony, Pudge. Heard of it? Now, let's go get some cigarettes and start this year off right."

We're thrilled to have Maisie Williams joining us on Doctor Who. It's not possible to say too much about who or what she's playing, but she is going to challenge the Doctor in very unexpected ways. This time he might just be out of his depth, and we know Maisie is going to give him exactly the right sort of hell.

[Maigret Sets a Trap] was always going to be the first film, and it seemed to be quite a nice story. But of course it meant that here I was playing this new character for the first time, in a place where he had been a relative failure, as all these people had been murdered and the pressure was on. Rather than starting optimistically with his pipe in front of the fireplace, he was in quite a difficult place.

My name is CHL. That's Charles Haas Layfield.

When we decided to make 'DMC5,' one of the things we said off the bat is, 'Let's make a new character.'

Parker wasn't supposed to be a series. He was supposed to be one book, and if he was only going to be in one book, I didn't worry about it. And then an editor at Pocket Books said "Write more books about him." So I didn't go back at that point and give him a first name. If I'd known he would've been a series, I would've done two things differently. First, I would've given him a first name because that means for 27 books, I've had to find some other way to say, "Parker parked the car."

Sometimes in theater, they'll talk about your character a lot before you enter, but that rarely happens in television.

I'm at the beginning of it. I'm Elektra's last job before the story kicks off.

I first met Rhoda Morgenstern in the spring of 1970.

What should we call him?" Klaus asked. "You should call him Dr. Montgomery," Mr. Poe replied, "unless he tells you to call him Montgomery. Both his first and last names are Montgomery, so it doesn't make much difference." "His name is Montgomery Montgomery?" Klaus said, smiling. "Yes, and I'm sure he's very sensitive about that, so don't ridicule him," Mr. Poe said, coughing again into his handkerchief.

Ramona was originally an accidental character I added to the Henry Huggins books because I noticed that none of the characters had siblings. I added Ramona as Beazus' pestering little sister.

With a pilot, there's a lot of information that gets packed into 46 minutes or whatever it is. Usually what happens is that, throughout the season, you get to spend a little more quality time with the characters and get to know them a bit better, whether it's based on circumstance or relationships they've created with other characters.

Stately, plump Buck Mulligan came from the stairhead, bearing a bowl of lather on which a mirror and a razor lay crossed.

When you introduce a character and show him for the first time, don't show him fully lit. Don't show him one hundred percent to the audience. Show maybe fifty percent or sixty percent so the audience can fill in the dark spots.

And this is Nymphadora-" "Don't call me Nymphadora, Remus," said the young witch with a shudder. "It's Tonks." "-Nymphadora Tonks, who prefers to be known by her surname only," finished Lupin. "So would you if your fool of a mother had called you 'Nymphadora,' " muttered Tonks.

I make no secret of the fact that writing She-Hulk can serve as an opportunity for me to sneak in some really cool characters that I personally love. Some will be obvious fits, but others will come out of left field - but that's what's fun about the Marvel U - the bench is deep.

I felt like the script [of "I Don't Feel at Home in This World Anymore"] was so clear. It was sort of packed full of information. [Macon Blair] puts in a lot of discussion in the script. Characters are introduced very thoughtfully. The way he described walking into particular environments was very specific.