In displaying the psychology of your characters, minute particulars are essential. God save us from vague generalizations! Be sure not to discuss your hero's state of mind. Make it clear from his actions. Nor is it necessary to portray many main characters. Let two people be the center of gravity in your story: he and she.
Our virtues are voluntary (and in fact we are in a sense ourselves partly the cause of our moral dispositions, and it is our having a certain character that makes us set up an end of a certain kind), it follows that our vices are voluntary also; they are voluntary in the same manner as our virtues.
Romeo is the most misunderstood character in literature, I think. He's hardcore to play because he's displaying the characteristics of Hamlet at the beginning, and, well, then everything else happens.
Our people are slow to learn the wisdom of sending character instead of talent to Congress. Again and again they have sent a man of great acuteness, a fine scholar, a fine forensic orator, and some master of the brawls has crunched him up in his hands like a bit of paper.
You cannot build character and courage by taking away people's initiative and independence. You cannot help people permanently by doing for them what they could and should do for themselves.
It has taken me nearly twenty years of studied self-restraint, aided by the natural decay of my faculties, to make myself dull enough to be accepted as a serious person by the British public; and I am not sure that I am not still regarded as a suspicious character in some quarters.
In the tale proper--where there is no space for development of character or for great profusion and variety of incident--mere construction is, of course, far more imperatively demanded than in the novel.
I'm there [on Moana] with the other actors, so you play off one another. It's not just your idea of what the character is and what the world is like it would be in an animated [film], where it all sort of exists in your head. It's all right there, and if Diego's performance is doing what it's doing, it affects yours.
I'm an actor, and everything about me - the way I perceive things, the way I have seen the world - has been in relation to characters and how I would want to play something or not play it.
She was too intent upon her work, and too earnest in what she said, and too composed and quiet altogether, to be on the watch for any look he might direct towards her in reply; so the shaft of his ungrateful glance fell harmless, and did not wound her.
I'm not sure if we're going to or not because what happens is I'd always love to see certain characters back, there's so many. Some of it has to do with, if we want them back, are they available and the other aspect is do they fit with the storyline we're telling.
In this watering-place I acted an heroic character, badly studied; and being a novice on such a stage, I forgot my part before a pair of lovely blue eyes.
The Superior Man has nothing to compete for. But if he must compete, he does it in an archery match, wherein he ascends to his position, bowing in deference. Descending, he drinks the ritual cup.
Laws are essential emanations from the self-poised character of God; they radiate from the sun to the circling edge of creation. Verily, the mighty Lawgiver hath subjected himself unto laws.