Top 1200 Character Quotes & Sayings

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.

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.

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.'

Any character that you come up with or create is a piece of you. You're putting yourself into that character, but there's the guise of the character. So there's a certain amount of safety in the character, where you feel more safe being the character than you do being just you

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.

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.

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.

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.

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 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 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

I think every time you take a female character, a black character, a Hispanic character, a gay character, and make that the point of the character, you are minimalizing the character.

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.

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.

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.

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.

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.

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 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.

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.

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.

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.

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.

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.

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.

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

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.

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.

I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.

When you are writing, you have to love all your characters. If you're writing something from a minor character's point of view, you really need to stop and say the purpose of this character isn't to be somebody's sidekick or to come in and put the horse in the stable. The purpose of this character is you're getting a little window into that character's life and that character's day. You have to write them as if they're not a minor character, because they do have their own things going on.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.

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.

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.

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.

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.