Top 1200 Character Assassination Quotes & Sayings - Page 3

Nowhere, absolutely nowhere, has there ever been a hint, not even a whisper, that a Black person was involved in the assassination of the president. But that's the kind of thing you have in this movie.

When you look at something that's so extraordinary, like a man who is traveling back in time to prevent JFK's assassination, for me as an actor, you're still trying to seed it in some sort of reality.

Strange, (is it not?) that battles, martyrs, blood, even assassination should so condense - perhaps only really lastingly condense - a Nationality.

When I get excited about a character, I'll start doing things as the character and thinking about what the character would do.

I was on HPD--Heathcliff Protection Duty--in Wuthering Heights for two years, and believe me, the ProCaths tried everything. I personally saved him from assassination eight times.

There is no taboo after this assassination and no one of the Palestinian leaders has immunity anymore, ... It shows once again the necessity to collect the illegal weapons and to dismantle the infrastructure of terrorist organizations.

Music helps define the character and is an extension of the character somehow, so that you are able to use both the songs themselves and the way that you sing them to tell something about the character and his story, as well as develop a performance style.

My take on the torture thing and even drones is: If we're going to get into assassination and torture, the second question is the morality, but the first is the effectiveness of it.

The only thing that I know how to do as an actor, as a trained actor, is you can't villainize the character you're playing. Whether it's a fictional character or a real character. Because then you operate from that sort of negative point of view, and you can't humanize him.

One of us might be assassinated and then my heir will be king. Don't give up hope just because chances are slim." "For the assassination or the heir, your majesty?

I had the luxury of working on the script with Andrew [Dominik] for a good year before the film started, so I was already intimate with the story [of The Assassination of Jesse James] and felt quite prepared walking into it.

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.

The assassination of Martin Luther King, Jr. made me very, very sad, and I mourned and I cried like many of our citizens did.

This is a corny actor thing to say, but the first step is that you can't judge the character that you're playing. If it's built in three-dimensional fashion, you'll just play a character who's going out and seeking the best version of their life that they can find. That gives the character an accessibility that everyone can identify with.

A character like Baahubali required a preparation that I had to undergo mentally and physically - from undertaking a strict routine and a lifestyle, which helped me become the character physically, to knowing the character's depth and a lot more.

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.

You have to have a character; you have to build your character. If you understand the pro wrestling scheme of things, then you understand what the promoting is. These guys are friendly backstage, but as soon as the cameras turn on, it's a whole different story: you become that character.

Character - We describe the character of a person in reference to moral judgments about the worthiness of a person. Thus, to have a strong, great or honorable character is to be a person of merit, worthy of admiration and honor.

After the assassination of my wife, our nation was perilously close to civil strife. If I, as the co-chairman of the Party, had asked my people to take to the streets, the very existence of the federation would have been threatened.

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.

Since we all know that death is inevitable, I don't really see the difference between dying now and dying a decade later. So if I'm threatened with assassination, I welcome it!

In all, we investigated, I think, close to 50 rumors about offers to kill Dr. King around the country. But we found no evidence to support rumors of FBI involvement in the assassination.

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.

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.

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.

Frankly, when you twin the language of assassination threats with Donald Trump's suggestion that a Hillary Clinton electoral victory would be illegitimate, it scares the hell out of me.

It [his brothers assassination] made Robert Kennedy, a man unprepared for introspection, think for the first time in his life, what he wanted to do, and what he stood for.

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.

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.

So much of the deep lingering sadness over President Kennedy's assassination is about the unfinished promise: unspoken speeches, unfulfilled hopes, the wondering about what might have been.

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.

I am receiving what I suppose to be the usual number of threatening letters on the subject. Assassination can be no more guarded against than death by lightning; it is best not to worry about either.

Since I am first of all a character writer, that character's emotions are as vivid to me as my own. I always begin with an emotion after I have established a character in my mind. I feel what they feel. I guess that is why it comes across so strongly.

I'm a big fan of character actors like Johnny Depp and Gary Oldman. My goal is to continue playing character roles in indie films and move into playing character leads.

President Kennedy’s assassination, less than two weeks ago, has struck the world dumb. It’s like no one wants to be the first to break the silence. Nothing seems important.

A skillful playwright might have a good time with the story of the assassination of President William McKinley, and especially with the three most flamboyant political figures involved: Mark Hanna, Theodore Roosevelt, and Emma Goldman.

This character matters so much to so many people. I want to get that right. I want to do it justice. I want people to believe in the character and have faith in the character and kids to grow up wanting to be Superman. Or, God forbid, there's people who are going through hardship and wishing that this character would turn up and save them.

To those who don't want the truth about Kennedy's assassination to become known, the very repetition of a charge lends it a certain credibility, since people have a tendency to believe that where there's smoke, there's fire.

As a writer, you have to put yourself in service to the character, get behind their eyes by delineating the world where the character develops. You have to listen to the character and see him inside his certain world to know what conclusions he would draw.

We shouldn't confuse singers and performers with actors. Actors will say, "My character this, and my character that." Like beating a dead horse. Who cares about the character? Just get up and act. You don't have to explain it to me.

Obviously, with a CGI character, you're building a character in much the same way as a real creature is built. You build the bones, the skeletons, the muscles. You put layers of fat on. You put a layer of skin on which has to have a translucency, depending on what the character is.

The true mystery of the JFK assassination isn't 'How could the bullet go through two people with only slight damage?' but 'Why did the third bullet explode?'

It would certainly be interesting to know what the CIA knew about Oswald six weeks before the assassination, but the contents of this particular message never reached the Warren Commission and remain a complete mystery.

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.

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 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.

There's a kind of chemical spark that comes sometimes with the character, that you don't even have to think about how she is reacting, you just let yourself go. You just let the character take you, instead of taking the character.

I do feel privileged to play Elektra, because definitely she is a strong female character. She's a strong character. It would be nice if eventually we'd just say she's a strong character, not a strong female character.

Joker' is, of course, a character of my generation grew up with, and it's a character you know really well and have strong opinions about. He's been a larger-than-life character in fiction. He's one of these rare characters that have had such strong performances.

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.

When you work on a pre-existing character, when you end up getting invited to be part of a legacy character like Superman, I don't feel like it would be true to the character if all I did was go in looking to express my own voice.

I like to create a character where you believe, deep down, that they don't really care if they live or die. That's very liberating for the character because, if the character is prepared to die, then they can do anything. It's impossible to stop them.

My character's kind of grown up with Katniss. The beginning of the story, they're more or less brother and sister than anything. They're best friends. They've been keeping each other alive. It's a little frustrating, for the character. As the character, not as me.

When you look at something that's so extraordinary, like a man who is traveling back in time to prevent JFK's assassination, for me, as an actor, you're still trying to seed it in some sort of reality.

We build character in order for us to withstand the rigors of combat and resist the temptations to compromise our principles in peacetime. We must build character in peacetime because there is no time in war. Character is the most important quality you can find in any person, but especially in a soldier. It is the foundation that will get anybody through anything he may encounter. Reputation is what people think you are; character is what you are- that is the staying power.

To people who remember JFK's assassination, JFK Jr. will probably always be that boy saluting his father's coffin.

When I mentioned about Adlai Stevenson, if he was vice president there would never have been an assassination of our beloved President Kennedy

Stage is so important because it teaches me how to convey character with words - how to convey how a character reacts by the way they appear on stage. I can usually tell a playwright from someone who has never written for the stage. Did the character work? Did the dialogue reveal who the character is?

Under well-settled legal principles, lethal force against a valid military objective, in an armed conflict, is consistent with the law of war and does not, by definition, constitute an 'assassination.'

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.