Character Management Quotes

Every time I make a movie I have too many characters and too many locations.

I love managing characters. Characters make teams and I believe I can deal with all sorts. The most important thing is being able to pass my knowledge on to others and allowing them to flourish as individuals and as part of a team with a specific strategy.

When I'm writing a novel, one of the things I do is get big poster boards. They're actually canvases that artists use. And I keep all the characters' names on them. If you write a big novel, there's a lot of characters.

I read Animal House and I said, "I will burn down a house to be in this. I have to be in this movie." I read 1941 and I went, "Well, if Steven Spielberg likes it..." But it just wasn't on the page. It was a very big, unwieldy thing, and there were so many characters. It was fun to shoot, but I didn't know what the core of it was.

You have to make sure you have the characters you want. That's really the most complicated part.

When you're working with a smaller budget I suppose one of the things that has to be in your mind when you are writing is that you have to keep the characters down to a minimum.

You have to get rid of characters to make room for new ones, but you also have to recognize when things are done.

[Townies] was a huge cast. It was a bit ungainly, I think with 12 regular characters they had to keep writing for.

'The Vampire Diaries' is a great show, but it's on the verge of being overcrowded. The amount of characters, a lot of them don't get screen time because there's so much to put in, and it has to center around the love triangle.

There are plenty of secondary characters that I had always hoped to write, but I don't know if it will ever happen. The way contracts work, if you leave one publishing house for another, the characters tend to stay with the previous publishing house.

It is not enough to have great qualities; We should also have the management of them.

I've learned a lot about stage-managing for illustration. Sometimes you have to delete characters from a scene just to keep from overcrowding the image. I've also learned to making big-scale design decisions early.

The biggest challenge is not the storytelling, it's to track every character's arc through the entire movie.

In the old days, I just could not leave characters alone. Now I just try to keep the ones that still have something in the way of stories to tell.

Jane's stories are extremely sensible. Then Diana puts too many murders into hers. She says most of the time she doesn't know what to do with the people so she kills them off to get rid of them.

Certainly it's very difficult to keep momentum going through a film which has as many characters as this does, and the piece took on a life of its own to try and shape it. That took all the time we had in editing.

If a movie has more characters than an audience can keep track of, the audience will get confused and lose interest in the story.

I believe that an author who cannot control her characters is, like a mother who cannot control her children, not really fit to look after them.

My social media is very strict to my character and I've disabled comments on a lot of things because why would the Aleister Black character care about comments?

Overpopulated fiction can be so confusing that readers put the story down. Under-populated novels can seem claustrophobic or boring. You want the right number of characters for your particular work.

The most difficult part of any crime novel is the plotting. It all begins simply enough, but soon you're dealing with a multitude of linked characters, strands, themes and red herrings - and you need to try to control these unruly elements and weave them into a pattern.

I always run the stories by Capcom. They read the scripts and give their comments. I would never want to kill a character that they really want to use in the next game.

The nature of acting is that one is many characters and jumps from one skin to another as a way of life. Sometimes it's hard to know exactly what all of your characters think at the same time. Sometimes one of my characters overrules one of my other characters. I'm trying to get them all to harmonize. It's a hell of a job. It's like driving a coach.

Lio Rush, this little guy is a perfect heel manager, updated for modern times.