Top 1200 Cartoon Character Quotes & Sayings - Page 3

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.

Character, character, character. First, second and third ... we were pretty rusty initially. When you have a break for a few weeks you get a bit of rust.

When I'm writing, I try to have the mask of my character on as I'm walking through the world. When I'm not at my desk, the rest of the time, I try to stay in that character and see the world the way that character would It's almost like method acting in a way — keeping the character close the way the actor keeps a script close and always tries to be in character.

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.

'My character wouldn't do that.' That was always my favorite thing people say: 'My character wouldn't do that.' I said, 'Well, it says right here in this script your character does that.'

And there were sort of three toys for boys and three toys for girls. And the boys I can remember was, well, there was a Dan Dare Ray Gun. Dan Dare was a sort of a cartoon character. He was just sort of a - he was like a Battle of Britain fighter pilot, only in space.

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.

A woman can be demure, lady-like and the most prim and proper character, and still have a toughness and resiliency as apparent as a superhero-type female character or a warrior or soldier type. It's all about the story, the character, and the course of events in that piece of work and how that character is presented.

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.

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.

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.

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'm in a Road Runner cartoon, Sinclair. And I'm the coyote.

'Rugrats' was my favorite cartoon growing up as a kid.

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, for every actor, the most challenging part of playing a character, specially a real-life character, is to convince yourself that you are the character.

I'm a big cartoon fan! Bugs is my favorite.

What kind of a god is it that's upset by a cartoon in Danish?

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.

When you are writing a character, what the character says is obviously crucial. But what the character doesn't say is absolutely as important as his words.

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.

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.

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.

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.

Amazingly, much of the best cartoon work was done early on in the medium's history. The early cartoonists, with no path before them, produced work of such sophistication, wit, and beauty that it increasingly seems to me that cartoon evolution is working backward. Comic strips are moving toward a primordial goo rather than away from it . . . Not only can comics be more than we're getting today. but the comics already have been more than we're getting today.

I love this book! Cathy Malkasian's Percy Gloom swirls with echoes of cartoon landscapes from the past and present. You can almost hear Percy Gloom's meek, docile little voice. Her writing is so full of wit and charm that we, like the title character, walk dutifully to the edge and fall in. And like Percy, we are rewarded equally with night terrors and secret treasures.

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 biographical novel sets out to document this truth, for character is plot, character development is action, and character fulfillment is resolution.

It's really an organic sort of process. You start off with the character on the page. You fall in love with that character and you have to represent that character well and I think it's just an evolution there. Using the accent and speaking the lines with the accent in fact opens the door to who the character really is.

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.

When you play a character, you bring yourself into the character. You get a chance to shine and show your translation for the character and her state of mind.

When you're the guy inside of a character and you've lived with it for almost two years, you're always a bit defensive about the character, and you want to root for the character you're playing.

I didn't want to start acting like a cartoon.

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.

Believe it or not, every Marvel character is someone's favorite character. There's a fan out there who absolutely believes that their character should have their own television show.

I started out as a musician, and I ended up as a cartoon.

I think of myself as a living cartoon.

I was a big comic, cartoon, animation nerd.

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.

I've done the voice for the Hulk for the animated cartoon.

I'm a cartoon junkie. Love 'Avatar: The Last Airbender.'

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.

Each cartoon needs the right amount of wrong.

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.

Islamic ethics is based on 'limits and proportions,' which means that the answer to an offensive cartoon is a cartoon, not the burning of embassies or the kidnapping of people designated as the enemy. Islam rejects guilt by association. Just as Muslims should not blame all Westerners for the poor taste of a cartoonist who wanted to be offensive, those horrified by the spectacle of rent-a-mob sackings of embassies in the name of Islam should not blame all Muslims for what is an outburst of fascist energy.

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

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 didn't want to start acting like a cartoon

All I want is for people not to see me as this cartoon monster.

My character should not be ordinary, cliched, and if I feel that it's difficult to do this character, I take up that challenge to get into his character.

You never come home depressed from a cartoon job.

The only cartoon I ever liked was 'Fantasia.'

I'm like a Dilbert cartoon.

Taking on an iconic character is difficult, sure, people associate different actors with a character that you're playing, but there's something in rehearsing and developing a new character.

Rugrats was my favorite cartoon growing up as a kid.

What does it say about a president's policies when he has to use a cartoon character rather than real people to justify his record? What does it say about the fiction of old liberalism to insist that good jobs and good schools and good wages will result from policies that have failed us, time and again?

The first thing that happens is the cleansing of the former character. I don't think a lot of actors talk about it, but there is usually a process where you essentially purge yourself of the character played prior to the movie. Then you want to think about what the character represents, and you write down all of the elements about this character and then take the time to find some synchronicity and start breathing the character.

If I didn't understand a cartoon in a newspaper, I'd just turn the page.

I never like to judge the character. I just have to leave my feelings of pity, or fear, about a character - whatever I feel towards the character, I try to leave to one side. It's good to have them, but it doesn't help me. I can't act those things. I just to play the character as truthfully as I can.

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.