Oh, nothing sinister. Just a statement about the meaninglessness of individuality in the human condition. Hey!
Wasn't he supposed to be like 6' tall and really beefy in the books? I haven't read them, but I remember the complaining online!
The casting of jack reacher was due to teeny tom buying the film rights and owning the production company In the books Jack is 6.4" with a 50 inch chest and sandly blonde hair ... if you watch the films its best to not regard it as anything to do with the lee child books, just imagine them as mission impossible 8 or something
I'm also weirdly jealous of that fact. It's the ultimate indulgence. Maybe I should look into Scientology...
Not only is he huge, but in the specific book they chose to make a movie of, the fact that Reacher is huge is actually a significant plot point...
we can't blame Lee Child when its rumoured that he paid $200k per book (and apparently that was for all 12) If teeny Tom wanted to offer me that kind of money forthe film rights for 'after the wave' , i'd consider the fact that hes completely wrong for "blade", then I'd consider my artistic integrity and principles ....... then i'd take the money.
As @big soft moose said, he's even bigger than that. And his size plays significantly into many of the books, particularly the one the filmed in which, as I noted above, Reacher's sheer size and strength is an important plot point
Late to the party, but I'll add that I agree with much of what @jannert and @Commandante Lemming have said--I use description as a function of which character is narrating the scene. What does that character notice? What does she not notice? Why does she notice what she notices? I tend away from authorial intrusion as much as possible and have the POV character tell the story, so only what that character sees goes on the page. That way I'm developing my character as well as giving description. I also read much the same way as @Steerpike, in that I get a mental image almost immediately and will only modify it with significant (read: plot-relevant) details.
This is in response to the OP, not Tiny Tom and his fantasy LARP of his favorite characters in fiction. I do my best to get the important things down about my characters physical features. Though I still cannot tell you what Marckus's face looks like cause he is always wearing a gas-mask to keep people from staring at his hairless (even the eyebrows are gone) severely burned features. There are some things I had to get a little more detailed on considering there is a vast amount of diverse life in the Universe, but that is in and of itself a necessary evil. As for setting details, I try to limit the amount of wasted time on such things, considering there are far better things to be had. Also I am not going to describe every last inch of a massive alien warship in fine detail, as it would take volumes to do so. It is what the imagination is for, to fill in the minor details on your own. Now when it comes down to combat and the more visceral, sure lets dive into the soup of broken bones, bodily fluids, and the like head first. Only the important things will do, in the way of descriptions. I too have gotten the 'there is not enough detail' thing once or twice. Well to that I say imagine a highly advanced hell and you are halfway to imagining the universe that lies within the story.
I think the closest to Kinky that he has gotten is in the second book, when he makes a mercenary leader sit on a live grenade. To be fair he wasn't thinking to clearly having taken a bullet in the lung and kinda on the downward spiral. To bad she doesn't die from this comical set up on a slowly dying mans sense of taking a prisoner.
I treat a description like a character. Most of my characters have very little detail, but just enough to settle in the reader's mind and distinguish the character from others. It also is orchestrated to be a part of the scene, to have a purpose, to be a part of the flow of the tale. Thus, sometimes there are exceptions. I have two characters I totally decked out in absurd deformation, clothing, and props and described in intense detail, but in only a couple paragraphs to respect the pace. It was important for these two because it's relevant to the scene and who they are. Later, I have assassins who have almost no description. I approached it this way to make them blend in more with the background. To distinguish them, I turned to their thoughts.
