Top 1200 Fictional Character Quotes & Sayings - Page 3

Our identity is fictional, written by parents, relatives, education, society.

I wrote a piece of software in 1998 that created fictional weather.

The fictional eye sees in, through, and around what is really there.

I just didn't want to get bored playing a character, and that's kind of the benefit of doing films; you've lived with a character for four or five months and that's it, and you walk away from that character and you feel like you told a story.

I believe in the fact that to portray a character convincingly, you need to live that character, own that character. You have to be earnest with every line that you deliver. However, it doesn't mean that you have to cut off your true self.

I think it always helps when you build a character, and then, you actually step into that character's wardrobe, something else happens. Another angle of the character comes to life.

I began writing fictional stories and little screenplays when I was in fifth grade.

When you start digging into things like character, though, the notion that people have high character or low character is very strong. What's crazy is that my thinking is not a new insight. The very first large-scale study of character, still one of the largest ever, was done in the early 1900s by Hugh Hartshorne, an ordained minister and a scientist.

If I have an audition, I go to the audition in character. I'm in character when I walk in the room. I mean, I'm still sweet to everyone, but I'm very much the character.

I think I think in the moment. So when I'm in character, I'm in character, and I'm obviously thinking about what's going on around me, but it's easier to do stuff when you're in character.

Any fictional story will take things from real events.

Bond is a classic archetype character, a character that's embedded in our heads forever, one of a lone warrior setting out to avenge a nation - and you find that character across cultures.

The leading character isn't always the most important or interesting character; when people think that the protagonist is the character portrayed, it's people who haven't read Shakespeare.

I'm a writer who never writes about sex. It's so far from my own fictional world.

If anything, in the podcast world, I'm relieved that I don't have to dress like the character. I don't necessarily have to do all of the physicality that conveys the character, but do as much as I need to help me feel like the character.

It's a challenge of to write a narrator who is doing something that is really unlikeable and morally questionable. A lot of times, you read a book because you like the character, you are cheering for the character; you want the best for the character.

I want to push that no matter what race you are, you're never just a sidekick or broken character. You're the main character, you're the funny character, you can be whatever you want.

Every character gives you something or the other, and you can't calculate it unless you are living the character. You learn something about the character that stays with you.

This is fictional time, where events play out and possibilities are exhausted, so that meaning can emerge.

I think we have become oversaturated with tired fictional narratives.

I love the idea of fictional worlds kind of all cohering in some way.

You can have a very intense relationship with fictional characters because they are in your own head.

I had no idea what I was signing up for. I auditioned for some random character. I knew the sides were fake, but what they were trying to capture was an emotional toughness and a woundedness. I knew I liked the character. I didn't know who the character was, but I liked the spirit of the character.

If I'm not clear with the character, I can't do anything with it. But once I get that character, the possibilities are endless. When you have such a defined character, I feel like I can actually read the phone book and make it funny.

There should be unemployment insurance for fictional people.

I am playing the character of Sanjana in 'Race 3' and it is very a dark character in the initial phase of the film but towards the end, it gets transformed into a positive character.

History releases me from my own experience and jogs my fictional imagination.

Within a single scene, it seems to be unwise to have access to the inner reflections of more than one character. The reader generally needs a single character as the means of perception, as the character to whom the events are happening, as the character with whom he is to empathize in order to have the events of the writing happen to him.

The world is full of fictional characters looking for their stories

Of course, the downside of attending a fictional school is that our lacrosse team sucks.

If I speak with a character’s voice it is because that character’s become so much part of me that … I think I have the right then to imagine myself into the skin, into the life, into the dreams, into the experience of the particular character that I’ve chosen.

I love building out the worlds of my fiction with fictional books.

Those who quit their proper character to assume what does not belong to them are, for the greater part, ignorant both of the character they leave and of the character they assume.

I'm always a little apprehensive about 'decoding' fictional stories.

There is no society that does not highly value fictional storytelling. Ever.

What a good novelist does with a throwaway that serves no fictional purpose is throw it away.

Life would be so much easier if fictional boys were real.

I'm really trying to stop setting my plays in this one fictional town in Vermont.

Feydeau's one rule of playwriting: Character A: My life is perfect as long as I don't see Character B. Knock Knock. Enter Character B.

I love when you get the feeling of some social reality with a fictional film.

Hosting a game show is quite interactive and non-fictional shows are a part of entertainment.

The language fictional characters use is chosen for effect, at least if the author is concentrating.

Has there ever been anybody, real or fictional, whiter than Betty Crocker?

The flimsy little protestations that mark the front gate of every novel, the solemn statements that any resemblance to real persons living or dead is entirely coincidental, are fraudulent every time. A writer has no other material to make his people from than the people of his experience ... The only thing the writer can do is to recombine parts, suppress some characterisitics and emphasize others, put two or three people into one fictional character, and pray the real-life prototypes won't sue.

Writing fiction lets you be a little more emotional and unguarded, a little freer. Writing fictional characters is also really different from writing about real people. In nonfiction, you can only say so much about the people you interact with. After all, they're actual people, their version of their story trumps yours. In a novel, you can build a character, using certain parts or impressions of someone you know, and guessing or inventing others, without having to worry that your guesses or memories or inventions are wrong.

Unlike the actual, the fictional explains itself.

The substance of fictional architecture is not bricks and mortar but evanescent consciousness.

I realized there's a difference between creating a character and sustaining a character. The challenge that comes with sustaining a character is that you have this sudden impulse to think about all the things the audience liked.

A black character is much more than just a black character; he's a character, period. So show the world as it is. Even with all your artistic license, you make a political choice.

There's a problem with narratives. Most that spring to mind are fictional.

When you start out on a project as an actor, you know, you approach the character from the standpoint of maybe writing a list - even if it's a mental list that you make - of the adjectives that the character has or that character possesses.

Talking out loud to fictional characters is just the tip of the iceberg.

The character is what trips you up - the thing of, "I'm going to get so dark in this character that I'm going to get lost in a character." You can't get lost in a character. You can only think you're lost in a character.

There is a certain fictional element that goes in playing a common person.

I played this character twice in live action, and now I've become an animated character. It was actually fun to see myself drawn - I've never been a drawn character before.

The house, while sound in wind and limb, was described as being of 'no character.' We didn't think then that it had anything but character, rather sinister perhaps, but definitely character.

I create fictional narratives, but it's based on literal people.

I am not someone who throws around the word 'self-esteem.' It is a fictional description.

Television is full of fictional and real violence that's turned into entertainment.

Comedy is all about the character. When you're too focused on the gags, the character suffers, and you don't get the laugh. Comedy has to come from the character.