Character Limitations Quotes

The villain is always more entertaining because he has fewer limitations. The hero is bound by honor, by justice and by the law, sometimes.

People like Superman, The Flash - they just feel limited in who they are and what you can do with them because everyone knows who they are and what they do. Someone like Animal Man feels very open to interpretation.

I frustrate myself as a writer. There are certain things that I'll think, 'Well, that would be really fun to play... if somebody else was playing this character.'

You can't take a character anywhere they don't expect the character to go. But within those confines is where creativity lies.

You get a lot of respect for 'Game of Thrones,' and it was a lot of fun to play, but it didn't help my career a lot because Khal Drago doesn't even speak English.

But I've always believed that Christine Cagney shouldn't be played past a certain age.

Your success stops where your character stops. You can never rise above the limitations of your character.

The characters are not allowed to change if you write a sitcom; they're not allowed to learn anything. There's all these sorts of rules, and you go, 'I just want to be able to write one character and then leave that behind.' Also, as a performer, and I may regret saying this, but it would be my own personal hell to be trapped in the sitcom.

The theater's much the most difficult kind of writing for me, the most naked kind, you're so entirely restricted.... I find myself stuck with these characters who are either sitting or standing, and they've either got to walk out of a door, or come in through a door, and that's about all they can do.

I don't take trouble at all to conform a screenplay to my iconography. I don't say, "We can't do that - the audience wouldn't accept it." I try to take the limitations of what is required to play a leading character and then screw with them.

The downside of doing a multi-protagonist movie is that you don't get to service each character as you would if they were the central protagonist of the movie.

We set ourselves a limit and cut characters which weren't so vital.

I have had issues in the past with the characters and the limitations of the characters and the structure of the narratives given to me as a woman of color.

I don't want to be stuck to one character. I think that's what can happen when you take on a superhero movie.

When you do a half-hour show, there's only so much you can do. At best, you're going to get a character with two-and-a-half dimensions.

We all, as actors, have to fight these battles, where it's like, 'OK, that's a little far-fetched.'

One of the mistakes I made was thinking chickens and penguins could sing, just like all the other animals in the 'Muppets.' But it turns out those animals are not allowed to sing words.

Once you have invented a character with three dimensions and a voice, you begin to realize that some of the things you'd like him to do to further your plot are things that such a person wouldn't, or couldn't, do.

What was the worst thing [making Twiligh]? Playing the part where you can't get hurt and you can't die because there's no framework. There are too many possibilities if you can't die. If you're playing a normal human being, there's always that.

Nobody wants to play - I've talked to Brent Spiner about this. You don't want to play a character indefinitely who's not supposed to age.

Bond doesn't have an inner life. There would be moments when I'd think, 'We need to gather our thoughts here and have a breather,' where in another novel you'd slow the pace, have some description and see what Bond feels about this. But Bond doesn't reflect. All you can do is move on to the next bomb or shark or car.

When you are a really iconic character, everyone thinks that's all you can do. It's nice to show people that I'm not a one-trick pony.

The more limitations you put on a character, often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.

No man can climb out beyond the limitations of his own character.

The structure of 'March' was laid down for me before the first line was written, because my character has to exist within Louisa May Alcott's 'Little Women' plotline.