Top 1200 Cartoon Character Quotes & Sayings - Page 19

The truth is, the sexist behaviour that really holds women in games back doesn't come from the moustache-twirling cartoon villains of Gamergate. It's the sexist hiring practices of our journalistic institutions. It's the consistently over-sexualised designs we see.

My job has always been to not only make my character look like a badass but to also make the actor I am fighting opposite to be the character they need to be too.

When you do a play, or even a movie, you have weeks to finesse your character. You really understand why they do what they do. In TV, you get new material weekly about your character.

I paused in the act of opening the door and looked at him with what were probably cartoon-wide eyes. "Wait a second," I said. "So, you're best friends with a hot vampire chick who likes leather." "Yeah." "And together, you fight crime?" I couldn't help it. I cracked up.

When you're on screen with Mads, there's some real fireworks because your character is his intellectual equal. In a way, maybe your character has an instinct as to who this man really is.

There's always that key to every character that lets you go to those places you need to go to. No matter how much you might hate the character, it makes you understand it.

The character truest to itself becomes eccentric rather than immovably centered, as Emerson defined the noble character of the hero. At the edge, the certainty of borders gives way. We are more subject to invasions, less able to mobilize defenses, less sure of who we really are, even as we may be perceived by others as a person of character. The dislocation of self from center to indefinite edge merges us more with the world, so that we can feel blest by everything.

At Second City and improvising at iO, you're creating a character in an instant. All of a sudden, you're creating this history and this past for your character, and you're discovering it while you're doing it, and that's part of the fun of it.

First and foremost, stepping into something like a Marvel project is insane. I mean, my character is from 1968, and she's the second female X-Men ever. It's exciting, but it's also a great amount of pressure to do right by the character.

Character is far more important than intellect in making a man a good citizen or successful at his calling- meaning by character not only such qualities as honesty and truthfulness, but courage, perseverance and self-reliance.

It's sad that the BBC is toning down Dennis the Menace for a cartoon series. He is losing his weapons, catapult and peashooter, will no longer pick on Walter the Softy, and his ferocious grimace is to be replaced by a charming, boyish smile.

I would really like it if someone knows me more for a character that I've played. If they call out the character's name instead of mine by mistake, it would be lovely.

I was first introduced to dancing through the TV: I remember watching ballet, jazz and ballroom dancing when I was very little. But I felt no connection with it whatsoever: it was just like watching a Tom and Jerry cartoon.

In 'Stree,' I play a character who believes that he knows everything. And I play a cop in 'Drive.' It is a different kind of a role. It is not a uniform-wearing character. The film is interesting, since it is a thriller.

I focus on characters as individuals with attitudes and write each scene from a particular character's point of view. That way, even narrative passages take on the character's sound. I don't want the reader to be aware of me, writing.

Knowledge is essential to conquest; only according to our ignorance are we helpless. Thought creates character. Character can dominate conditions. Will creates circumstances and environment.

I sometimes catch up 'Simi Selects India's Most Desirable.' Sometimes I watch reality dance shows, too. And yes, the strangest of all is that I watch 'Tom and Jerry' on Cartoon Network with my son.

Watching Fox, that's like watching the Cartoon Network. Fox is nuts.

What sometimes goes on in all sorts of Christian institutions is not formation of people in the character of Christ; it's teaching of outward conformity. You don't get in trouble for not having the character of Christ, but you do if you don't obey the laws.

I wouldn't want to play a character that knew everything and knew where to go. It is much more interesting playing a character that is vulnerable trying to be strong. It makes for better TV.

People expect you to be this weird cartoon sometimes when you're a musician. I hate that. I hate standing out. I hate people looking at me. I just want to be part of the crowd.

There are many wonderful orchestras in the world, but very few who have a character or personality of their own. The Chicago Symphony Orchestra is one of them, and I think it very important to recognize and respect that character.

If there's anything Trollope novels always take seriously, it is money - how it flows from one character to another, how it is managed, who has it, who deserves it, and what it means to a character, male or female.

The baseline character in a lot of Western literature is a man. So we, as women, do a lot of suspending of our disbelief to experience a novel or a play or a movie through that male character.

It's important to fight for your character but at the same time realize there's a bigger picture involved and, you know, this is a character that's shared by everybody. It's not just purely your own.

It's always exciting to create a character that people can relate to, where people are like, 'Oh, I know this dude,' but maybe you've never actually seen this type of character on TV.

The problem of online identity is expressed best in an old 'New Yorker' cartoon with a picture of a dog next to a computer, and the dog says, 'No one online knows you're a dog.'

There are ugly aspects to every single person's character. In being truthful, actors do have to show the ugly side of someone's character. We all behave like dicks sometimes.

Acting is very much like a child making believe. I'm not one to become a character, but I fall in love with the character. It's like having faith; you're going to be that person for a while.

I had the sets that meant so much to this character built - right in my home, especially the kitchen, which was important both for her character and for your introduction to her when Albert comes to visit.

My social media is very strict to my character and I've disabled comments on a lot of things because why would the Aleister Black character care about comments?

I suppose the underlying current for me is the idea of not doing something I've done before. I call myself a character actor and I'm always trying to stay a character actor.

There have been times I thought that when I got a certain point in the story, a certain character was going to do a certain thing, only to get to that point and have the character make clear that he or she doesn't want to do that at all. That long phone conversation I thought the character was going to have? He hangs up the phone before the other person answers, and twenty pages of dialog I had half written in my head go out the window.

My hope is that people will be repulsed by the character's complete lack of ethics and obsession with consumerism - that's what I was saying about the difference between the character's message and the film's message.

I don't approach my character in a set pattern. I want to get into the skin of the character. I don't love Manoj Bajpayee; I love all my characters. And that is why people today remember all my roles.

No one is born with good character; it's not a hereditary trait. And it isn't determined by a single noble act. Character is established by conscientious adherence to moral values, not by lofty rhetoric or good intentions.

Trump brings rhetoric and reality together in a cartoon caricature of a Republican politician that anyone can understand. That gives him a vital role in history. He is the perfect exorcist to drive a stake through the heart of the modern Republican Party.

Something happened in 1997 that changed the whole industry, at least for the next five, six, or seven years. It wasn't about the 24-inch arms and the cartoon characters anymore. It was about the wrestling and what we were doing in the ring physically.

It's really a misconception to identify the writer with the main character, given that the author creates all the characters in the book. In certain ways, I'm every character. Then again, there is a huge gap between me as a person and what I do in the novel.

I think you can get away with so much more offensiveness when you're operating behind a stuffed teddy bear or a cartoon or something that's not real, because it's forgiven. It's like having a little kid in a movie curse - it's funny because it's not natural.

I like all of the books I work on to be ones you can pick up without knowing the entire history of the character, because then, not only can you enjoy it as is, but it encourages you to look into the history of that character and their world.

I love the idea of being the underdog, coming in with a take on this underdog character and completely blow people's expectations away. Like, 'Oh, you thought he was going to be a wimpy character? No no no.'

I think that television has become really, really interesting, in terms of character development. You can have 13 hours to develop a character, as opposed to 25 minutes in a movie. That excites me.

It's all about creating a back story for the character and developing emotional responses that are true to life in relation to the character. It isn't necessary to live a tragic life to create from that place.

Most famous artists are created by their work and the idea of them as a character, and if they're smart and ambitious, they reinforce that character because they want to win. They want their views to prevail.

I let the comedy come through the character and just try to make sure that everything is kind of rounded in a truth, in a reality, because that's what I need to make a character work.

I would say any creative person has that: you can't just force a topic. Whether you're a painter, you want to do a cartoon. Anything. Something may come up that's not your style or suited to what you are working on at the moment. So you file it away and hopefully find a place for it.

I sang the 'Kim Possible' song for their cartoon series 'Kim Possible'.

A song in a musical works best when a character has to sing - when words won't do the trick anymore. The same idea applies to a long speech in a play or a movie or on television. You want to force the character out of a conversational pattern.

Life experiences help in understanding the character. And many things come to your mind regarding the character sketch when you read the script as many times as possible.

My size has helped make me an amazing performer too. The cliche of the Funny Fat Friend: I absolutely was that character - I am that character... It's a complicated bag of tools I acquired, and I've put them all to work onstage.

I was attracted to Joe right away. He was and is one of the greatest cartoon artists I've ever met. I was able to do the timing, and Joe with his draftsmanship could make the storyboards. There were things I could do that he couldn't and vice versa.

Innocent parents might have thought that a musical cartoon version of a fairy tale would be a child's ideal introduction to movie magic. Yet Walt Disney taught moral lessons in the most useful way: by scaring the poop out of the little ones.

I want to look at this character from all points of view. I know I don't want to make them all good or all bad or all anything... the story itself often helps create the character.

I think anyone loves to play a character that is either evil to a certain extent or has a real definable character flaw. Those are always really fun, and, I think, funny.

I spent a lot of time playing in miserable places that were not a lot of fun. Somebody once said it is character building and I was like: My character is just fine.

The "difficult" female character can-and will-do the shocking, the unexpected and, as a consequence, will give your story an immediate jolt of energy. She is the character who doesn't fit the mold.

I'm a gay man who came from the last years of illegality. That focused my whole character. I think it focused everyone's character in a way. You saw yourself as outside of the main structure.

You have to make a choice, and you have to commit to a character. You're either a babyface or a character that the fans relate to, support, love and aspire to be, or you're not. And if you're not, you're a heel: you're despicable, and they need to learn to love to hate you.

In 'Yours Truly,' I was the centre of the story; I was the protagonist. There was a lot more happening inside the mind of the character which was not projected loudly through dialogue and action... As a performer, playing such a nuanced, internal character is challenging.