My theory of characterization is basically this: Put some dirt on a hero, and put some sunshine on the villain, one brush stroke of beauty on the villain.
Characterization is integral to the theatrical experience.
Whether you're writing a horror show or a James Bond film, I think what bubbles beneath is interesting characterization. The colors that emerge through storytelling is what a dramatist does. There's always got to be something bubbling underneath that will erupt at some point.
The craft of writing is all the stuff that you can learn through school; go to workshops and read books. Learn characterization, plot and dialogue and pacing and word choice and point of view. Then there's also the art of it which is sort of the unknown, the inspiration, the stuff that is noncerebral.
I will never forget the pleasure and instruction I derived from working with a true master of his art, such as Edward G. Robinson was - and is. Surely his record for versatility, studied characterization - ranging from modern colloquial to the classics - and artistic integrity is unsurpassed.
I need it all: in-depth characterization, fantastic/warped world building, a plot that could out-race Secretariat, and a 'voice.' I need to hear a uniqueness in the author's voice.
An attempt to write nothing but characterization will soon bog down; I for one don't want to have somebody tell me about someone else.
The safest general characterization of the European philosophical tradition is that it consists of a series of footnotes to Plato.
I think 'Two Towers' is a completely distinct film from 'Fellowship of the Ring' or 'Return of the King.' I think that you can watch them as a group and watch how the story evolves, but I think each one was made in its own entirety, and each one has its own palate of sound and music and color and characterization.
I like dramatic ballets, particularly if they're ballets in which I have a chance to go from one extreme of style or characterization to another.