Top 1200 Character Actors Quotes & Sayings - Page 17

Character isn't who you are when life goes your way. Character is who you really are when the bottom falls out.

To act, no matter how the character is, you have to love and have compassion for the character you're playing.

There's something so beautiful in playing a character that supports another character's success.

You're always going to have ups and downs - if you look at the careers of a whole bunch of people I respect, some of them have good movies, some of them have bad movies. I remember Andrew Garfield said that the only power we really have as actors - or one of the main powers we have as actors - is our choices. We can make interesting choices, but as soon as you've made that choice, so much else is in play: the director, the script can change, the other actors. All you can do is try to make interesting choices and, once you're in it, just do the best you can.

That NXT title, in character and out of character, it means the world to me.

Strength of character may be acquired at work, but beauty of character is learned at home.

Character is the ability of a person to see a positive end of things. This is the hope that a man of character has.

With any character, I try to focus more on who the character is and how they got to be who they are.

The audience has its own gestalt, and it becomes another character - a character that changes each night.

The main character and the most important character are not always the same person - you have to know the difference.

I do really believe that all guitarists have a different character that comes through, that's a strong character, the stronger the person is.

As long as a character doesnt die, the character can always come back.

You really try to work the character out and spend time in the headspace of the character. That's what I did.

I think people saw him as someone who did good things for Ireland. If you looked at all the Irish actors in 'Excalibur' alone - Gabriel Byrne, Liam Neeson - there was a whole gaggle of Irish actors who've gone on to become stars, so Dad was really part of that.

Not many know, but the costumes of your character can really help you to get into the skin of the character.

Anytime you take on a character... you just have to find the parts of the character that you can understand.

My character in 'Saaho' is completely contrasting to my character in 'Baahubali,' and I am quite excited about it.

When you are a character actor they trust you will go in and give them a full character and leave.

Improvisation, the main thing is it teaches you to be in the moment and present in the moment and be reactive and proactive for what's going on. Someone gives you something - a lot of actors are a little shut off, so they're just doing, "This is my character, these are my lines, I'm going to just send it to you then you send whatever you're sending." Improvisation teaches you to really be listening.

I've usually had two styles: the Fletch character and the Clark Griswold character.

Things have character. So I'm interested in how the character of the thing might function as a protagonist in what isn't a narrative.

Acting is not a mystery. There's nothing that I know that other actors don't know. We all act, we're all actors, we all know the same thing. The only thing that separates us is experience.

I don't worry about whether a character is likable, as long as the character is believable.

Character is the backbone of our human culture. Music is the flowering of character.

You play your character and it isn't right to step out of it. You have to stay in that character.

When you play a daily soap character that character lives with you for a really long time.

I like exploring, especially being and getting more comfortable with a character and in the space a character is always in.

One must keep one's character. Earn a character first if you can, and if you can't, then assume one.

I simply channeled a character, this time I allowed the character to inhabit me.

I think it's really hard to make songs that pursue an agenda. You can kind of do it a little bit through a character, so the character gives voice to something or their story, the story of the character tells you something, but, for me anyway, it's really hard to write directly about politics.

Good Web design is about the character of the content, not the character of the designer.

Whatever character you play, whatever film it is, whatever story it is, for me, in my training it's always something that gives you a layered character, it's understanding the secret of that character, and so whatever comes up as "Oh, I thought that person was that," you are always carrying that within you. So actually what you're playing all the way through is both and it's just what comes out in the scene or the circumstance.

But if you can empathise with a character and if you can emotionally resonate with that character and understand their emotional journey, I think you are home.

Composers and lyricists are not responsible for storyline and casting. One can imagine actors shouldering this responsibility, since they charge for half the film. But producers never ask actors to share the losses. Instead, they train their guns on composers and lyricists.

Bollywod films run on the shoulders of its lead actors. The audience goes to watch the actors and talks about the story later. On the contrary, Punjabi films are now running on the shoulders of their stories and content, which is an achievement.

There are lots of actors who insist on speaking the lines themselves, and you hear the same thing from directors and the audience, but I don't think it's worth getting het up about. I think it makes more sense to use someone who speaks that country's language: that's what voice actors are for.

When it comes to the look of a character, it plays a very important role in shaping up a character's personality.

Greatest thing we can produce is character. Everything else can be taken from us, but not our character.

The character of the English players is very good. It is a working character. If they are on the pitch they like to work.

I am me. I've always been a character, and my character's story lives into pro wrestling.

Obviously, once you're finished, you're like, "Okay, I have to make this a movie now, and I need people - bodies to play these parts, and actors to bring this thing beyond a script." But when I was writing it, I wasn't thinking of actors; I was really thinking about creating three-dimensional characters.

Even when I'm writing in character I'm normally still writing about things I know or things that have happened to me or using that character to start an exploration of my own consciousness. Really though, any character that you can examine is just an examination of a part of your own consciousness.

Normally, filmmakers would just write a script and cast people to act as certain characters in the story. But in my way of doing things, I have the actors in my mind already, so I'm trying to borrow something that's unique to them. The characters have a very natural connection to the actors themselves.

Usually, witches are the little side character... a bad female character that comes in and leaves.

Nothing comes easy when I'm in character, because everything I do in character, I take seriously.

My character from 'Panda Eyes,' Fay, is the character I see myself in a lot.

I just love actors, and I've always loved actors. I empathize with their job. Everyone thinks it's easy, and it ain't. To be that vulnerable and brave on camera is tough. The more they reveal themselves, the more we love them, but there's a lot of truth in what they're showing.

My initial response was to sue her for defamation of character, but then I realized that I had no character.

We have new technology that allows us... After we've blocked it, all the actors usually run over to the monitor and we can see the hallways and what's there. But I find it difficult, because you're in such a large room and you feel so small and inadequate. There's so much space around you and actors always want a prop or something just to make it comfortable.

I love my snaggle fangs. They give me character and character is sexy.

About actors' lives... I'm not the person to ask. I don't live an actor's life and I really don't know. I probably read less about actors' lives than you all do. So, I'm in the dark about all of that, sorry.

I think there's a bit of me in every character. Basically it just depends on what happens with the character.

It's hard for people to differentiate between a character they see on television and a person who plays the character.

What's great about New York is that there are a lot of theater actors and actresses, who are trained actors, that they bring onto the show. They're so talented, in such a weird, quirky and ominous way. And it's great to be able to work with new faces, too.

I'm not saying transgender characters should be only interpreted by transgender actors - because that would be as rigid as saying transgender actors cannot play cisgender roles, and that's not the idea.

I enjoyed the Bradshaw character - the beer-drinking character from Texas. It was just fun.

For me, as an actress, you are playing a character, and to play that character, you have to get into that mindset.

I'm a dramatist, so I really always wrote and directed at the same time because when I wrote something, I always put it on its feet. So I'm in love with actors; I always loved actors.

'Character," says Novalis, in one of his questionable aphorisms - character is destiny'.

With any character, you have to put part of yourself into it because we are the soul that brings that character to life.