Top 1200 American Character Quotes & Sayings

When you are writing, you have to love all your characters. If you're writing something from a minor character's point of view, you really need to stop and say the purpose of this character isn't to be somebody's sidekick or to come in and put the horse in the stable. The purpose of this character is you're getting a little window into that character's life and that character's day. You have to write them as if they're not a minor character, because they do have their own things going on.

So my character on 'Tyrant' is a chap called Barry Al Fayeed, and he is the second son of a fictional Middle Eastern dictator. But, he has grown up since he was young in America. He's trained as a doctor. He's married a beautiful American girl, had two kids, so he's very much an American.

The great trap for non-American actors trying to play Americans, I think, is to start thinking of American-ness as a characteristic. It isn't. It is no more a character trait than height. It is just a physical fact, and that's all there is to it.

I've got nothing against any individual American, except that there aren't any. They're always Irish-American, African-American... There's never an American-American you can blame.

With Vietnam, the Iraq War, so many American films about war are almost always from the American point of view. You almost never have a Middle Eastern character by name with a story.

I've been lucky that even when I was younger, just because of my look or whatever, I was afforded the opportunity or called on to try. 'Can you do this Hispanic character?' 'Can you do this Italian character?' 'Can you do this Jewish-American character?' I just had to develop a facility for their accents.

I'm still kind of a hapless character in my everyday life. But when it comes to the writing, my influences are very old influences. I love American music of absolutely all stripes, including show tunes, advertising jingles, theme tunes from quiz shows, all kinds of American music.

Eventually we got to a point where 'Riverdale' came along, and it was a character that was originally written white, and I saw this as an opportunity to take a classic American character and make them Asian.

If we take the route of the permanent handout, the American character will itself be impoverished.

I think that Mary Baker Eddy was a fascinating character in American religious history.

There's nothing in the American dream about character. It's a serious flaw.

I think every time you take a female character, a black character, a Hispanic character, a gay character, and make that the point of the character, you are minimalizing the character.

What is the character trying to say? Why? Be as specific as you can, using sense images that evoke something about the character. Try using the character's senses, even if the character is you.

One of the great myths in America is that sports build character. They can and they should. Indeed, sports may be the perfect venue in which to build character. But sports don't build character unless a coach possesses character and intentionally teaches it. Sports can team with ethics and character and spirituality; virtuous coaching can integrate the body with the heart, the mind, and the soul.

Real religion is about, developing real character; character of compassion, character of humility, the character of determination to grow in all circumstances.

The strike of the miners in Arizona was one of the most remarkable strikes in the history of the American labor movement. Its peaceful character, its successful outcome, were due to that most remarkable character, Governor Hunt.

One of the most important virtues of the American character is our ability to approach the complexities that life presents us with common sense and decency, .. The considered judgment of the American people is not going to rise or fall on the fine distinctions of a legal argument but on straight talk and the truth. It is time for the president and the Congress to follow that common sense for the good of the country.

It is from the blues that all that may be called American music derives its most distinctive character.

The fact that so many are willing to accept need-based aid signals a fundamental change in the American character.

I consciously think about the ethnicity of every character that I create and cast. But one thing that is equally important is quality representation. It's not enough to put an African-American in there, a female in there, a gay character in there: How significant is their contribution? Can they drive the story?

American exceptionalism is the recurring character in the nation's narrative.

I love the idea of seeing a character - I mean, there's nothing like seeing a character and having the huge detail and roundness that a character in a book can give you. It's so much more full than a character in a script can give you, isn't it?

I find 'True Grit' to be one of the very best American novels: It is a rousing adventure story and deeply perceptive about the makeup of the American character.

Character is destiny and character is important to American campaigns.

To watch an American on a beach, or crowding into a subway, or buying a theatre ticket, or sitting at home with his radio on, tells you something about one aspect of the American character: the capacity to withstand a great deal of outside interference, so to speak; a willing acceptance of frenzy which, though it's never self-conscious, amounts to a willingness to let other people have and assert their own lively, and even offensive, character. They are a tough race in this.

I've tried to be inclusive in my '2B' series. Over the course of three books, I wrote African-American characters, a paraplegic character, gay and lesbian characters, a bisexual, Jewish heroine, a multiracial hero, Korean and Chinese-American characters, and a multiracial supporting character.

It is part of the American character to consider nothing as desperate.

What I'd like to see developing is an American radicalism, libertarian in character, which relies, however weak, faint, and even mythic these traditions may be, on the American libertarian tradition. I don't mean right-wing libertarianism obviously.

American imperialism has suffered a stunning defeat in Indochina. But the same forces are engaged In another war against a much less resilient enemy, the American people. Here, the prospects for success are much greater. The battleground is ideological, not military. At stake are the lessons to be drawn from the American war in Indochina; the outcome will determine the course and character of new imperial ventures.

I think what I'm doing is quintessentially American because I'm not American - even though I am on the verge of getting my American passport next week - I have a fantasy of what is American. Big spaces, Marlon Brando, James Dean, easy living.

There are no words to express the extraordinary strength and character of this breed of people we call American. They are the kind of men and women Tom Paine had in mind when he wrote, during the darkest days of the American Revolution, we have it in our power to begin the world over again.

Any character that you come up with or create is a piece of you. You're putting yourself into that character, but there's the guise of the character. So there's a certain amount of safety in the character, where you feel more safe being the character than you do being just you

Buffett's uncommon urge to chronicle made him a unique character in American life, not only a great capitalist but the Great Explainer of American capitalism. He taught a generation how to think about business, and he showed that securities were not just tokens like the Monopoly flatiron, and that investing need not be a game of chance. It was also a logical, commonsensical enterprise, like the tangible businesses beneath. He stripped Wall Street of its mystery and rejoined it to Main Street -- a mythical or disappearing place, perhaps, but one that is comprehensible to the ordinary American.

In speaking to you men of the greatest city of the West, men of the state which gave to the country Lincoln and Grant, men who preeminently and distinctly embody all that is most American in the American character, I wish to preach not the doctrine of ignoble ease, but the doctrine of the strenuous life.

Not only is there more content, but the producers are also focusing on characters rather than their ethnicities. I mean, when you go in for an audition, you get a character sketch, like 'a 35-year-old American male.' The ethnicity of that character is developed after casting the actor, and I think that's the most basic change that has happened.

There’s more time spent on teaching kids about recycling than on character development in the American schools.

I think that American audiences are more used to following one character.

Reputation is seeming; character is being. Reputation is manufactured; character is grown. Reputation is your photograph; There is a vast difference between character and reputation. Reputation is what men think we are; character is what God knows us to be. Reputation is seeming; character is being. Reputation is the breath of men; character is the inbreathing of the eternal God. One may for a time have a good reputation and a bad character, or the reverse ; but not for long.

The American War of Independence is the expulsion of the intrusive elements, alien to the American essence. If American reality is the reinvention of itself, whatever is found in any way irreducible or unassimilable is not American.

Intolerance of dissent is a well-noted feature of the American national character.

Yes, the Masters is too stylish to be an American icon. It's as out of character for Uncle Sam as a McDonald's is for France.

There are artists in Belgium who try to imitate American artists. But it's like, if you're Belgian pretending to be American, you won't be better than the American because you aren't American. You have to do your own stuff.

A lot of American actors I work with are in character all day long. You can't talk to them. It's Method and the whole thing.

Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.

When you look at "American Crime" and you have the character Terri LaCroix is a pharmaceutical executive - why does that character always have to be white?

The American mood, perhaps even the American character, has changed. There are few manifestations any longer of the old American self-assurance which so irritated Dickens. Instead, there is a sense of frustration so perceptible that even our politicians have attempted to exploit it.

I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.

American writers reduce the length of time devoted to exposition and character development.

Remarkable trait in the American Character is the union, not very infrequent, of Yankee cleverness with spiritualism.

Baseball is the exponent of American Courage, Confidence, Combativeness, American Dash, Discipline, Determination, American Energy, Eagerness, Enthusiasm, American Pluck, Persistency, Performance, American Spirit, Sagacity, Success, American Vim, Vigor, Virility.

When I went to the University of Iowa in order to be a writer, I thought, This is the worst way to learn how to write. To sit in a room with a bunch of would-be writers, who want to write the Great American Novel, every one of them, and you read their stories and they read yours, and you're not living a life. I don't like that. I like learning on the job. The character of my work has definitely evolved from the character of my life.

You don't have to be an All-American. You just have to have character and courage, and I take that message very seriously.

We are a people that have always celebrated other people's success so long as we always had the opportunity to meet that success ourselves. That is the American nature. That is the American character. That is one of the things that makes us different from the rest of the world. And I'm afraid we could lose that or are on the verge of losing that.

We have to start processing what we're really made of in America. American character is not dead. American integrity and honesty are not dead. When we're backed up against the wall against the largest corporations in the history of corporations, it's there.

American Graffiti was the first movie where the director let me have any input. It was the first time anyone ever listened to me. George thought my character should have a crew cut, but I wasn't happy with that idea. I'd always had pretty long hair back then - in college, particularly - so I told George my character should wear a cowboy hat. George thought about it and he remembered a bunch of guys from Modesto, California, who cruised around, like my character, and wore cowboy hats, so it turned out that it actually fit the movie.

We want the spirit of America to be efficient; we want American character to be efficient; we want American character to display itself in what I may, perhaps, be allowed to call spiritual efficiency - clear disinterested thinking and fearless action

You see the one thing I've always maintained is that I'm an American Indian. I'm not a Native American. I'm not politically correct. Everyone who's born in the Western Hemisphere is a Native American. We are all Native Americans. And if you notice, I put American before my ethnicity. I'm not a hyphenated African-American or Irish-American or Jewish-American or Mexican-American.

You can be a Polish American, or an Arab American, or a Greek American but you can't be English American. Why not?

It makes it easier, if you can't do an American accent. I don't know. It's different. I played a character in Never Let Me Go where the script for my character was very sparse, and I enjoyed it. With Never Let Me Go, I had a whole book written from my character's point of view, so I always knew where I was. But, with Ryan [Gosling], it was just easy. He's such a brilliant actor and he is so prepared. He doesn't have to warm himself up to be in a scene. He's just in it. It draws you in, in a way.

I have always been in favor of a healthy Americanization, but that does not mean a complete disavowal of our German heritage. It means that our character should take on the best of that which is American, and combine it with the best of that which is German. By doing this, we can best serve the American people and their civilization.