Top 1200 Best Character Quotes & Sayings - Page 13

I doubt that I could create a character I loathed simply because when a character takes life, it is impossible not to be a little amazed by the phenomenon, and to find that the amazement has something of the quality of delight.

You have to be completely in the character, and that's so hard to do. That's why, when they call, 'Cut!,' you often feel yourself shift. Unless you're Daniel Day Lewis, who stays in character all the time, there's a switch that happens.

For me, personally, I'm more comfortable with what I would call third-person entertainment, meaning watching a character that's explicitly not me and experiencing something through a character's eyes, than what I would call first-person entertainment, which is a video game in which I am the character.

Whether a character in your novel is full of choler, bile, phlegm, blood or plain old buffalo chips, the fire of life is in there, too, as long as that character lives.

I can't negotiate and collaborate with a character to create a distilled dramatic investigation of the raw material. I need to work with an actor. That stuff about actors who stay in character all the time is nonsense.

The beauty of the character is that it's like camouflage. It's the best costume ever. I rarely get recognized as Pornstache when I'm out in public. Most people recognize me as the Law & Order guy, when I'm out in public.

I like playing complex, interesting characters. Sometimes I don't think there's much of a strong line between right and wrong for a character. Every character is somewhere on a moral spectrum.

I'm someone who loses 80 to 90 percent of the time. Even when I lost, I put my body on the line and I told the best story. If I stood out, if my attitude towards fighting was different, I found a way to stay around and keep revamping myself and my character.

I'm an actor. I'll take a lead if it's offered. The really good actors can fill a character, no matter what the role is. A good leading man is a character actor; a good character actor can be a leading man.

I had done it all in my career. I always felt, as a kid, that that's what a director needed to be. Hitchcock could do anything in my mind. He's the director. That person has to be the best actor, the best designer, the best cinematographer. Then I came to realize that isn't the case. You just need to surround yourself with the best.

I have done great characters in Malayalam, too. In that sense, there was nothing special about my acting as Ambedkar. But I am sure that this is a great venture, and I will get a lot of exposure in India and abroad. I have tried my best to do maximum justice to the character.

Human character is just endlessly fascinating, and there is no character who is one thing any more than any one person is just one thing. As you work on a character, he/she is revealed more and more. That's what I continue to love about the work.

Be thankful that sometimes God lets you struggle for a long time before that answer comes. Your character will grow; your faith will increase. There is a relationship between these two: the greater your faith, the stronger your character, and increased character enhances your ability to exercise even greater faith.

Adversity is a crossroads that makes a person choose one of two paths: character or compromise. Every time he chooses character, he becomes stronger, even if that choice brings negative consequences.

It's easy to enjoy your job and enjoy other people when things are going good. When you're faced with adversity is when the character of men is measured. There's a Mennonite proverb, 'Man, like a tree, is measured best when cut down.'

We did so much work developing the character of Kratos, why would we throw all that out? We're sort of treating the first seven games like chapter one of this character's life.

It was seriously just a name. They didn’t tell you what to do. They didn’t tell you how they wanted the character to be - nothing. You went in to audition for this character name and that was it. When I started, before I came onto the set, I went to Gene Roddenberry and said: hey, what do you want from this guy? Who is he? And being as smart as he is, he said: don’t listen to what you’ve heard or read or seen in the past, nothing. Just make the character your own. And that’s what I did.

I think I must play how I can, that's all. And if I play my best I'll be happy. It doesn't matter because NHL is the best league in the world and we have great players so whoever the coach puts me with is the best. The coach knows best.

I want to read about a character doing something fairly quiet where I can picture who the character is, and what their attitude towards the world is - which I'm a lot more interested in than what they do under the pressure of a gunfight.

'Fringe' is essentially a love story, so the scenes where Walter had close connection with Peter, but also with Anna's character or Jasika's character, were very special to me.

The Villain wasn't necessarily something I sat down and thought, 'Oh this is going to be my character.' It's most like other great wrestling characters, where it's more of a reflection of my actual character.

When I was acting, I got trained in creating a character as a three-dimensional person. If you're doing it right you should be able to draw an audience into the character's world and make them feel their fears.

Obviously, when you're in theater, you have to be in character. You have to prepare for the unexpected. You have to be able to react to things that don't necessarily happen every night, or aren't supposed to happen every night. And you have to react to it in character. In six months, 192 shows, those things did happen. And the experience of that, the ability to stay in character, I feel like I've learned a great deal.

The best adaptations are the ones that really excavate the material. The movies that work are the ones in which somebody very smart figured out how to take all the thematic material, all the character material, all the filigree, all the beautiful writing and put it into a story.

I believe that all novels, ... deal with character, and that it is to express character – not to preach doctrines, sing songs, or celebrate the glories of the British Empire, that the form of the novel, so clumsy, verbose, and undramatic, so rich, elastic, and alive, has been evolved ... The great novelists have brought us to see whatever they wish us to see through some character. Otherwise they would not be novelists, but poet, historians, or pamphleteers.

When I'm looking for a strong female character, or a strong character at all, I'm looking for a character that has a purpose in that story, that has an interior life of some sort. They don't have to be physically strong; they don't have to be morally strong or ethically strong, because men and women come in a huge variety of all of those things. Emotionally, ethically - I'm less concerned with that. I just don't want them to be props. That's the only thing that offends me.

What I look for is identifying what the utility of a character is to the telling of the story overall. If I can identify that from reading the script, then I've got a clear idea of whether or not I think the character is worth playing.

Every actor has his own approach towards acting. I believe you do not become the character you are playing. You may get closer to it but you do not lose yourself. There's just a reflection of the character in you.

My approach to Pennywise was, on one hand, I wanted to stay true to the essence of the character but at the same time make it an edgier character that is basically unpredictable and people won't expect everything he comes up with.

I need to be able to write a poem after every film and to kind of cleanse myself from the character because for about three months or so, I'm constantly living through the character's eyes.

You know, I always got offered other stuff. Not the romantic leads, obviously. But very often it's a role that's underwritten, where the character has no personality at all. And they need a character actor who can fill it in.

People will talk about character arcs, but you look at the character arc of C-3PO from 'Star Wars' to 'Return of the Jedi,' and it's a complete 180... he's not so much of a coward and a fussbudget.

In 'A Few Best Men,' I play a lesbian character. I played the lesbian sister of the bride who ends up kissing a dude at the end, but she was, like, a full-on lesbian in that. And I beat out famous Australian lesbians for the role.

Making a film of a work you've played for six weeks gives you intimate knowledge of the character. By the time you go in front of the camera you've worked out the behavior and life of a character.

The higher education so much needed today is not given in the school, is not to be bought in the market place, but it has to be wrought out in each one of us for himself; it is the silent influence of character on character.

I tend to foster drama via bleakness. If I want the reader to feel sympathy for a character, I cleave the character in half, on his birthday. And then it starts raining. And he's made of sugar.

I try to look at every role the same way, regardless of whether the character is real or the character is a fantasy. I always start from myself, because you have to know yourself first.

The best thing about acting is when you're playing a scene and you actually become your character and lose yourself in that moment. That's when you know you've been succeeded at what you've worked very hard to accomplish in your profession. Those are the truly thrilling moments.

When intellectual leaders fail to foster the best in the mixed, unformed, vacillating character of people at large, the thugs are sure to bring out the worst. When the ablest men turn into cowards, the average men turn into brutes.

I tend to write about towns because that's what I remember best. You can put a boundary on the number of characters you insert into a small town. I tend to create a lot of characters, so this is a sort of restraint on the character building I do for a novel.

In 'Kalank,' I am playing a character, which is quite strong, quiet a little complex yet interesting, that drew me towards the character when I heard the narration from director Abhishek Varman.

What you can do with visual effects is enhance the look of the character, but the actual integrity of the emotional performance and the way the character's facial expressions work, that is what is going to be created on the day with other actors and the director.

On the last day of every character I've ever played, I lay the clothes out on the floor with the shoes and socks, so that it looks like the character has literally vanished. That's the way you have to leave them.

I love Vince McMahon. He came up with the Kurt Angle character. He ran with it, and then I was able to run with it. I thank him for the opportunity he gave me. Vince McMahon was one of my best friends, period.

I brought my personality and sense of wonder and I think they wrote as much of my personality as they could. I do not go around kicking butt and saving the universe all the time but they tried to capture me as best as they could in the character.

A good actor makes clear the meaning of the words. A better actor gives also the emotion of the part. The best actor adds emotion of which the character is unconscious.

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.

Every movie I work with the costume designer to see what feels like the character, not what Columbus would wear but what is right for the character. Outside of the armored truck standard issue security guard uniform, this guy is trying to make ends meet. He might have one pair of jeans, the same boot, maybe changes his shirt but he doesn't have a walk-in closet full of things, so I wanted something comfortable that felt like the character.

Most of the comedy characters I played have been extensions of my own personality and very similar to Mike Channel. It's a weird eclectic mixture of your genuine character and the character you portray.

Costume, hair and makeup can tell you instantly, or at least give you a larger perception of who a character is. It's the first impression that you have of the character before they open their mouth, so it really does establish who they are.

There were episodes where I would wear seven or eight outfits. It took a lot of time to get those together. What the character wears is very essential to how I create the character.

I never pick a film based on the genre; I choose the characters I play. I will think it through thoroughly - whether I am the best person to play the character, able to excel in it and match with the other characters.

There is a natural disposition with us to judge an author's personal character by the character of his works. We find it difficult to understand the common antithesis of a good writer and a bad man.

With films it's not usually that I have a particular character I'm looking for; I'll read the character and my imagination will start spinning and I'll go, "Yes, definitely." I'm thinking it would be nice to keep challenging myself.

I would love to do an anthology show based on the character of Jesse B. Semple that Langston Hughes wrote about. He's sort of a Forrest Gump character in the midst of 20th century Harlem.

You have a valid complaint, and I do recognize it ... but you are reading into things a little bit. Just the same, I will do my best to make horrible things happen to a bunch of white people before something else so graphic hits a minority character.

I think it's hard to differentiate between your wrestling character and your real character - you kind of end up being both. I've always been my wrestling character in and out of the ring and in and out of the dressing room, and I was always really respected in the dressing room by the other wrestlers.

I prefer not to wink out from behind the character as myself, saying to the audience, "It's just me here, right, guys?" Peter Sellers is my model, and he didn't do that - he wore his character from head to toe.

I can honestly say Ive never thought for a second about whether a character reflects poorly on any group. All that matters to me is that the character is true to my belief in who he or she is.

As actors, we try to just do the character justice and try to make the writer's intentions come to life. If you do that to the best of your ability, that's really all you can do. All that other stuff, like a warm reception from fans and viewers, is just icing.