Top 1200 Character Assassination Quotes & Sayings - Page 16

I always look for the character that gets into your guts and tells you, 'You have to play this.' You have to be brave enough to let everything else go and let the character guide you. When I read a script, I look for that kind of pull.

The more you spend time with a character, the more you see different nuances of that character.

My sense of myself is that I'm a character actor, and character actors are ready, willing, and able to do anything, to be totally different from themselves. That's my job, to be ready. I'm some kind of first responder.

Of course, there are dangers in religious freedom and freedom of opinion. But to deny these rights is worse than dangerous, it is absolutely fatal to liberty. The external threat to liberty should not drive us into suppressing liberty at home. Those who want the government to regulate matters of the mind and spirit are like men who are so afraid of being murdered that they commit suicide to avoid assassination.

Comedy really is my bread and butter, even when I'm doing a serious character, with the exception of Outcast. I have found very little humor in this character. Most of the time, what I do, somewhere there is comedy in it.

Man, having an ideal before him of that which he ought to be, and is not, and acting as though he possessed the character he ought to have, but has not, comes, by the very virtue of his aspiration, to possess the character he imagines.

A tactic used by authors of virtually every single book I've ever read that propounds a conspiracy theory is to attack an agency as being part of a conspiracy in the Kennedy assassination, but when this same agency comes up with something favorable to the author's position, the author will cite that same agency as credible support for his argument.

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.

I'm certainly a plot and character man. Themes, structure, style - they're valid components of a novel and you can't complete the book without them. But I think what propels me as a reader is plot and character.

The best writers are gravitating to that world. What's rewarding also is this: you have a two hour movie, you can't really delve into character that much. In a TV show you can. You can delve into character. You can get into nitty gritty.

I don't think my spirituality has affected my character. I feel like my character is much more cynical about his beliefs, and I think I have to kind of drop what I believe in order to play him.

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.

There are scripts when you fall so much in love with your character. And if you are lucky and offered this part, you should not tempt your fate and go to the greatest extent to be/to play this character. If you have an opportunity to do that and you do not, it's shameful.

When you're reading, like, a character's thoughts, or when it's in first person, you're reading kind of their own story, so you have the opportunity to see what makes that character complex or complicated. And to me, that's what the whole point of fiction is.

I make out a play list for every character and buy the records they would listen to; it helps me find their personas. What they play, where they stay, who they lay, is my matrix for character development.

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.

The conflation of the simple in style with the morally prescriptive in character, and the complex in style with the amoral or anarchic in character, seems to me one of the most persistently fallacious beliefs held by English students.

If you go for an audition, you have a character description, and for the women, it's always about being beautiful, sexy. And for the men it's more about the character than how he appears physically. That annoys me.

The Kennedy assassination has demonstrated that most of the major events of world significance are masterfully planned and orchestrated by an elite coterie of enormously powerful people who are not of one nation, one ethnic grouping, or one over-ridingly important business group. They are a power unto themselves for whom those others work. Neither is this power elite of recent origin. Its roots go deep into the past.

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.

I would have to say that I have to concentrate more when I'm doing comedy. There are so many details that make up any character, but developing a character for a dramatic role seems to come more naturally.

Episodic TV is notoriously brutal because just when you think 'I've got this, I know this character' you can pick up the script for series four and you die in the first episode - or your character suddenly transitions from a woman to a man.

My intention is always to honor the character that Lev [Grossman] created in the books and my greatest concern, honestly, is that the fans of the books will embrace me as this character that they've imagined in their heads.

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.'

The interest in character-driven content over narrative-driven ditto is increasing; that's why television steps in. Personally, I love it, since psychology and character, really, are my beacons.

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.

You normally either get bitten by a character and decide that is the way to play it, and then that begins to inform everything you do, or you decide, 'I don't need to use much character in this - I have basically got to be me'.

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 you're doing television, you get to be a character for a long time, and the cast around you becomes like family. You get attached to playing that one character, and it's hard leaving them behind.

As an actor, you don't want to know the beginning and end to your character's arc. It makes it more fun. You're not playing the end. You're playing it realistically. You don't know where this character is going to go and what's going to happen to him, which just makes it more interesting for the viewers to watch. They're going on the journey with you, as the actor and the character.

Usually I'm very, very involved with choosing my character's wardrobe and knowing exactly how I want the character to look and this is the color palette and the textures and these are the kinds of shoes she'd wear.

Don't write about a character. Become that character, and then write your story.

There was a time when people were like, 'Oh my God, Sheamus' character is boring.' Well, when you're just in wrestling matches all the time, and you're not doing character stuff, then it can be a bit monotonous.

You don't get character because you're successful; you build character because of the hardships you face.

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

Dogs would make totally incompetent criminals. If you could somehow get a group of dogs to understand the concept of the Kennedy assassination, they would all immediately confess to it. Whereas you'll never see a cat display any kind of guilty behavior, despite the fact that several cats were seen in Dallas on the grassy knoll area, not that I wish to start rumors.

As an actor, I think it's always important to separate yourself from your characters because, when you include yourself in a character, you're taking a liberty that you don't really have unless you're life is that incredibly close to the character.

Sometimes you'll see people give performances in comedy with an ironic detachment where they'll sort of be remarking on the character from outside of it. They're sort of commenting as they're playing the character. I think it's hard not to do that. I've certainly done that.

Superman is such an old character. He's an old character with this huge legacy behind him. And one of the awesome things about the fact that he's been around for these decades is that he's gone through these different phases.

Each character requires different language, and these issues become inseparable. You have all these balls in the air: language, character, narrative. For me, the primary focus must be words, sentences, paragraphs.

I lost 90 pounds and my blood pressure went down to a normal level and the salt in my urine disappeared. And that was when I had to make the transition from fat character actor to thin character actor.

When 'Director's Kut' called me and asked to come for an audition, I went for it but there was no response for a couple of days. Then I got a chance to meet Rajan Shahi and discuss the character. I liked Pammi the moment I heard about the character.

David Corbett's The Art of Character offers a deep inquiry into the creation of character for the novice writer, with valuable nuggets of wisdom for the seasoned storyteller. If you are a writer, it should be on your desk.

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 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.

'Shivalinga' was a tough project - I did my own stunts in the film. I actually enjoyed it, as I play a character with many layers. It was challenging to switch between the many phases of the character.

A person whose desires and impulses are his own - are the expression of his own nature, as it has been developed and modified by his own culture - is said to have a character. One whose desires and impulses are not his own, has no character, no more than a steam-engine has character.

It's all about story and character with me, and I don't care if the job is on daytime or prime time or the web. Hey, give me a good character and someone to listen, and I'll do my acting on a street corner.

With acting, you have to become someone else. That's the fun part of it for me - to step outside of yourself and become a character. I guess being Jimmy Cliff is a little bit of a character, too.

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.

A character has a distinctive voice - you should be able to hear them in your head and conduct a conversation with them while you're out walking. If the answers surprise you, you know it's the character speaking and not you.

I play a character in the WWE and everybody hates my character. I'm the evil villain bad guy. Whenever people meet me, they're like, 'Wow, you're such a nice guy. We never expected that.'

I was driving home the other night, listening to the radio, and the guy filling in for Art Bell on Coast to Coast AM was talking to some other guy about Nazis, UFOs, the Kennedy Assassination, time travel, and George Bush, and how it all relates to OneWorldGovernment. This, of course, made me think about barbell training.

You want to be honest with a character and play it truthfully, and you want to be genuine with your character.

It doesn't matter if a character is a lawyer, a cop or a geography teacher. If there's a story in there, where the character has a passion and a fire in his belly and story to tell, then it's enough for an actor to get excited about.

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 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.

A Dickens character to me is a theatrical projection of a character. Not that it isn't real. It's real, but in that removed sense. But Sherlock Holmes is simply there. I would be astonished if I went to 221½ B Baker Street and didn't find him.

The only thing that endures is character. Fame and wealth-all that is illusion. All that endures is character.

As an actor, when you want to capture the spirit of the character, and the character exists in all of the iterations slightly differently, you work towards getting a sense of what the creators wanted to do, you know? Then, you work off of that.