We're not going to deputize a whole bunch of American citizens to start grabbing people or turning them in, in part because the ordinary American citizen may not know whether or not this person is illegal or not. But, you know, the notion that we're going to criminalize priests, for example, or doctors who are providing services to individuals, and throw them in jail for doing what their calling asks them to do, which is to provide help and service to people in need, I think that is a mistake. I think that's out of America's character.
What the tender and poetic youth dreams to-day, and conjures up with inarticulate speech, is to-morrow the vociferated result of public opinion, and the day after is the character of nations.
You have to expose part of yourself to create a character deep enough for readers to care about. You try not to because it's hard and at times shameful, but then when you read those pages over and you see they have no life to them so you throw them away and force yourself to be more honest. So I suppose the answer is I see myself in all my characters, in their best moments and in their worst.
In my opinion it is harmful to place important things in the hands of philanthropy, which in Russia is marked by a chance character. Nor should important matters depend on leftovers, which are never there. I would prefer that the government treasury take care of it.
The key to writing for Richard (Pryor) was to just push his buttons and then know when to push the buttons on your cassette recorder. You'd get him started, then surreptitiously start recording when he got inspired and started walking around the room and improvising in character. Then you'd get it all transcribed and take credit for it.
Being that rare sort of old girl that she receives Good to her arms without a hint that it might be Better and catches light from any little spot of darkness near her.
I think all writers are armchair psychologists to some degree or another, and I think a character's sexuality is fascinating. It's a great way to really get at the root of their identity, because it's such a personal thing.
There's a victory and defeat-the first and best of victories, the lowest and worst of defeats-which each man gains or sustains at the hands not of another, but of himself.
All thought must, directly or indirectly, by way of certain characters, relate ultimately to intuitions, and therefore, with us, to sensibility, because in no other way can an object be given to us.
I love characters that are going through turmoil. To be honest, I love characters with conflict. I love characters who are really going through an emotional journey; whether it's a super-dark-crazy journey or a really relatable guy.