Top 1200 Character Assassination Quotes & Sayings - Page 18

I had read the 'Mahabharat' thoroughly even before meeting B. R. Chopra Sir. I knew the most important character was Duryodhan. Without him the 'Mahabharat' would not have happened. I straight away went and asked for that character itself.

We have always put the quest for balance at the center of our storytelling, whether it is the struggle to find it within one character, between a character and society, between disparate cultures or between humans and their environment.

You can reveal yourself on stage in a way that you can't on TV. If you drop a character on TV, it's death. Each character has to be ruthlessly, faultlessly played. But live, you can hint at what's going on behind. You can let the audience in a bit and go off the script.

It took me a long time to film the plastic bag, and then I had to get the cut of the scene right. But if you find it as beautiful as the character does, then suddenly it becomes a different movie, and so did he as a character.

Flaws reveal a lot about a character and who people are. The flawed elements of a character are where I find their humanity. Those are the things I tend to identify with - the weaknesses. I don't know why, but I identify with struggle more than with success.

I just don't need cable news. There's nothing that happens on cable news that I don't already know. I'm talking about just the acquisition of information, learning things. What is on cable TV is not that. Cable news isn't news. What is happening on cable news right now is a political assassination of not just Donald Trump, but of ideas and cultural mores that I believe in.

When we approached the project, the very first thing we did was take each character and say, "Okay, where would this character be?" We didn't want them to be caricatures of themselves. We wanted them to live and breathe, and grow with the audience and with us.

It is fun, revisiting a role. Usually, as an actor, you do a movie and you put that character up on a shelf, and he's done. That character is now immortalized on film, but you don't get to play him again. In these films [Twilight saga], we got to revisit these characters, and we didn't take that for granted.

Money alone cannot build character or transform evil into good. It cries for full partnership with leaders of character and good will who value good tools in the creation and enlargement of life for Man.

In any character you are given to play, be it evil/good/whatever character, you begin with self. You examine yourself and ruthlessly see similarities between you and the devil, or between you and the dictator, or between you and the kind man.

Parshuram's is a very detailed character. People generally know him as an angry man who goes around cursing. What they are not aware of is the undercurrent of pain behind every curse of his. I bring out this pain in the character.

When it comes to thinking about how a character talks, there are literary and language considerations. For actors to be able to differentiate between themselves and the characters they are playing while at the same time remain in character and spontaneous requires a sophisticated combination of skills and spirit.

There is the moral spectrum in 'Fargo,' and you see it in other Coen brothers movies, where you have a very good character on one end and a very bad character on the other.

I suppose people hadn't really thought each decade should have its own character and be different from the others till the 1920s, although I remember in a nineteenth-century Russian novel someone remarked that a character was a typical man of the 1830s - progressive and an atheist.

I think of myself as a character actor, compared to a straight actor. I know a character actor in England is pretty much the same as in the States; you're actually hired to put on terrible teeth and stuff like that.

At the end of the day, it's a show [Daredevil ] not about a superhero, but it's about a man. Hopefully, that's what we're doing with The Punisher, as well. It's an enormous honor to play this character. It's a character that's quite iconic and very important to a lot of people.

There's posh character actors. For God's sake, Olivier was one of the greatest character actors in the world. Hamlet, Shylock, Othello - Othello! Whether you like it or not.

Plays can create empathy. If you put a Muslim character on stage, and make him a full character, you're making it possible for the audience to feel empathy, and a little empathy on both sides would help.

Invisible Boy was fun. Everybody else's character, they knew where they were at already as a superhero. But invisible boy's character, you kind of grow up with him within the movie.

I love my snaggle fangs. They give me character and character is sexy. People comment, but the only person who ever told me to fix them was my mom ... I just went my own way, like daughters do.

I had some experience when I joined 'The Sopranos' in the last season. My character married Christopher, and everyone loved Adriana. I knew what it was like to join a very beloved, secretive show and following a very iconic character.

I don't feel like you can fully find the true character until you're in his wardrobe, on set, and really getting into the scene. And that's when you really find out who your character is.

It takes a while to establish a character. Richard Boone once told me he didn't really get the character in 'Have Gun - Will Travel' until the 16th show. You just plant a seed, water it, let the sun shine on it, and hope it blooms.

Good character is more important than wealth, good looks, popularity and even education. These things do not guarantee happiness and often they become obstacles to developing good character.

I recently did a play, Athol Fugard's 'Coming Home' at Long Wharf Theatre, where I played one character throughout - I sat at a table and didn't have any costume changes. Following one character's arc from beginning to end is a whole different mindset.

Honestly, when you think of any great action hero or any great hero out there or great character actor, you kind of transcend the character. You just don't love the character, you love the guy. In any of the great action stars, you see the guy doing the work.

Character is the direct result of mental attitude. I believe that character is higher than the intellect. I believe that leadership is in sacrifice, in self-denial, in humility and in the perfectly disciplined will. This is the distinction between great and little men.

Somehow we allow, if a character goes to the dark side, if we're hooked into that character - I'm obsessed with Peaky Blinders. Those characters are awful, and yet you root for them. You love them! Same with Breaking Bad. That's not as easy in a feature.

I believe no amount of business school training or work experience can teach what is ultimately a matter of personal character. Businesses are not dishonest or greedy, people are. Thus, a business, successful or not, is merely a reflection of the character of its leadership.

Everything I've ever learned about acting - and I went to theater school - was about playing what the character wants and throwing yourself fully into going after what the character wants.

When I find the character, I try to spend time with them and get to know them very well. Therefore my notes are not from the character that I had in my mind before, but are instead based on the people I've met in real life.

If you're going to create a character, the tools you use to make that character 'real' are the lives you see around you. The people you listen to on the street. The emotions you see on faces and bodies while you're sitting... in a Starbucks, watching the world go by.

I want to keep an element of myself in every character I play. And maybe that's connected to finding something that you like in every character. Maybe they coincide.

One exercise I always do when I'm getting to know a character is ask her to tell me her secrets. Sit down with a pen and paper, and start with, 'I never told anybody...' and go from there, writing in the voice of your character.

To live in a great idea means to treat the impossible as though it were possible. It is just the same with a strong character; and when an idea and a character meet, things arise which fill the world with wonder for thousands of years.

I've always enjoyed hiding behind these characters. It's a strange thing, you're more comfortable as a character than you are in life. I could stand up in front of, it doesn't matter how many people, as a character. But if I had to do it as myself and give a speech, I would be liquid.

In many of my plays, there was a kind of autobiographical character in the form of a son or young man. The purpose of it, of course, was to write about myself. That character was always the least fully realized. Eighteen years later, you realize, That's what he was about.

When you're no longer seeing yourself, in some ways. You're as close to being as you can be.I suppose that's consistent with the moment that the mind actually turns off, and is no longer questioning what you're doing. When the questions stop, that's when the real acting takes over. And trying to get to the point where the questions stop, "Would I do this? How do I feel about that as a character?" When those stop, and it's just doing X, Y, and zed, because that's what you'd do as this character, because you're inside this character somehow - that's when it really kicks off.

When it comes to the Alexa Bliss character, everyone says the character has to be an extension of yourself turned up. But I feel like I am the complete opposite of Alexa Bliss.

I pride myself on doing character-driven movies and, when my movies have worked, it's been because of the right casting and the right character, and it just clicks.

David Corbett has combined his unique talents as a gifted writer and an extraordinary teacher to create a superb resource on character development. Deftly crafted and impeccably researched, The Art of Character is a thoughtful and insightful book that is immensely readable and practical.

The nature of an ensemble means when you're a supporting character and not the lead character, you get little tidbits here and there, but you're usually there to provide bits of comic relief and little bits of action or something.

What can possibly be the common factor in a Kim Jee-woon film? I think what really ties a lot of my projects together is that there is always a character that believes his life is not exactly the way he wishes it to be. My regard for that character turns out to be a very sympathetic one.

The best people in a dying culture are the outcasts considered crazy by the leaders; the ones most disillusioned with their own culture. In Yeats' phrase, "the best lack all conviction, while the worst are full of passionate intensity." Intense emotional attachment to any value, any virtue, any set of "shoulds" is a disease, a mental illness, a condition of self-murder and cultural assassination.

I try to keep my voice natural for each character, but the spirit and the cadence and breathing for each character is totally different. It's those things that set each role apart from the others.

There is always that thought that you might get stuck with a character. But there's always the notion that every character is always evolving.

The toughest part of acting is never a single thing. It's more like a whole character. I find film really difficult - trying to make it feel like a consistent character when you're filming everything out of order.

Style for me is some one who figures out who they are. What works on them. What they feel good in and develops that. Develops their character. And the outer expression of their character is what is style.

In most good stories, it is the character's personality that creates the action of the story. If you start with real personality, a real character, then something is bound to happen.

I love shooting, when the character is interesting and the script is interesting, but the research beforehand is really fun. The whole process makes me anxious and restless, and I have trouble sleeping, just trying to figure out the character.

The most important thing is to just be good at what you do. You do a good job playing the character, and people will be taken up with your character, not your clothes.

If you are lucky as an actor, you are doing a character that really matches where you are in life, or you're doing a character that is not where you are. If it's somewhere in between, you have to use a lot of imagination and a lot of thought.

Most people who love movies and kind of understand the process realize that if you do a character like Gollum or Jar Jar or any major digital character, that costs twice as much as having Tom Cruise in a movie.

We falsely attribute to men a determined character - putting together all their yesterdays - and averaging them - we presume we know them. Pity the man who has character to support - it is worse than a large family - he is the silent poor indeed.

People will not follow a leader with moral incongruities for long. Every time you compromise character you compromise leadership. The foundation of firm leadership is character.

I just sort of take it from a character perspective, and I don't know if he was necessarily spiritual, but I do think he had hope. He was a character that was comfortable having hope in his life, and hope is faith.

People like to see Ravi Teja as a vibrant, massy character. We needed to do something more. So I gave him the extra flavour of the cop character and high emotions. And Ravi did a good job.

I take my time to understand the nuances of a character and prepare for a role, which is why I take time to do films. I work hard on myself to fit the character.

People of good character are not all going to come down on the same side of difficult political and social issues. Good people - people of character and moral literacy - can be conservative, and good people can be liberal. We must not permit our disputes over thorny political questions to obscure the obligation we have to offer instruction to all our young people in the area in which we have, as a society, reached a consensus: namely, on the importance of good character, and some of its pervasive particulars.

Every great player has a big character. I don't know any player with a lot of quality who just has quality - you have to have an ego and character to be the main person on the pitch.