Character Manipulation Quotes

That's what fiction writers do: create characters and do terrible things to them for the entertainment of others. If they feel guilty enough, they write happy endings.

You can actually improvise a lot as a voice actor. It's not that entirely different than shooting a live action movie; the characters mouths are quite easy to manipulate once all the information is built into the computer. So you can improvise a lot and it doesn't matter really how far along they are in the process they can really just make the character say something different.

I hated how Sam Rothstein got manipulated by Sharon Stone's character in 'Casino.' I mean, I just hate how he gets manipulated; that just gets ridiculous to me. I know it's historic, but I hated that.

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

One has to be able to twist and change and distort characters, play with them like clay, so everything fits together. Real people don't permit you to do that.

Since the moment of the United Nations' inception, untold energies have been expended by governments not only toward the exclusion of persons of principle and distinction from the organization's leading positions, but toward the installation of men whose character and affiliations would as far as possible preclude any serious challenge to governmental sovereignty.

Building a relationship with the character. It's just like sitting with someone you know. It's very easy to predict when they're going to shake their head or say whatever, but because I'm the author I have to make characters do what I want them to do.

The less you know about me, the easier it is to convince you that I am that character on screen.

A script writer usually manipulates his characters in accordance to the script.

As a filmmaker, you are going to manipulate the character as you need to make the scenes work.

The pleasure of writing fiction is that you are always spotting some new approach, an alternative way of telling a story and manipulating characters; the novel is such a wonderfully flexible form.

It's hard being a hostage in somebody else's mouth - or a character in somebody else's novel.

A memoir is not an autobiography. It's a true story told as a novel, using techniques of novelization. The author is allowed to compress events, combine characters, change names, change the sequence of events, just as if he's writing a novel. But it's got to be true.

In the novel, I can change things and simplify, and make events work towards whatever meanings I'm trying to get at more efficiently.

Therefore it is unnecessary for a prince to have all the good qualities I have enumerated, but it is very necessary to appear to have them. And I shall dare to say this also, that to have them and always to observe them is injurious, and that to appear to have them is useful; to appear merciful, faithful, humane, religious, upright, and to be so, but with a mind so framed that should you require not to be so, you may be able and know how to change to the opposite.

Sometimes as writers, we try and put narrative development above character development. We try to move our characters around like chess pieces that do our bidding. The problem with that is sometimes the characters do things they shouldn't do. Things that are inorganic.