You only learn when you give your whole being to something. When you give your whole being to mathematics,you learn; but when you are in a state of contradiction, when you do not want to learn but are forced to learn, then it becomes merely a process of accumulation. To learn is like reading a novel with innumerable characters; it requires your full attention, not contradictory attention.
Character repudiates intellect, yet excites it; and character passes into thought, is published so, and then is ashamed before newflashes of moral worth.
Thus strength is afforded by good and thorough customs, thus is learnt the subjection of the individual, and strenuousness of character becomes a birth gift and afterwards is fostered as a habit.
Character wants room; must not be crowded on by persons, nor be judged from glimpses got in the press of affairs, or on few occasions. It needs perspective, as a great building.
Of the modes of persuasion furnished by the spoken word there are three kinds. The first kind depends on the personal character ofthe speaker; the second on putting the audience into a certain frame of mind; the third on the proof, provided by the words of the speech itself.
When you work with a good actor, there is this natural rapport and chemistry that develops over time. That chemistry helps your characters come alive and makes the story of the film that much more convincing.
When trying a case [the famous judge] L. Cassius never failed to inquire "Who gained by it?" Man's character is such that no one undertakes crimes without hope of gain.
If you string together a set of speeches expressive of character, and well finished in point and diction and thought, you will not produce the essential tragic effect nearly so well as with a play which, however deficient in these respects, yet has a plot and artistically constructed incidents.
That's the fine balance of a fiction writer...to be able to give your characters enough freedom to surprise you and yet still maintain some kind of artistic control.