Top 1200 Character Assassination Quotes & Sayings - Page 19

You have to sort of see the way that the character behaves, and what the character says and does, and claim it in the same way that you claim anything, really.

The hero is changing in Bollywood, and I approach a hero's role like a character by focusing on its weaknesses. I feel the weaknesses of a character make them more alive, relatable, and human.

A character does seem to have a life of its own, but I have what I'd describe as a very fluid relationship with them - as I'm thinking of what they will be like, they shift in and out of focus - they are a projection of some idea inside of me, even if a character is inspired by an actual person, I'm well aware that it is not that person. My job is to identify the essence of the character, and to bring them to life long enough to commit the acts, say the words or simply "be" in a way that allows them to affect and be affected by other elements and events in the imaginary world of a story.

I love the character of Jaime Lannister. He's just so complex - a character that we love to hate - but it's a lot more complex than hatred. It starts off, and he seems so arrogant and so smug.

Well, you know, what's better? To play a character who stays stuck in the same baggage year after year, or to play a character who gets beyond that and goes to a new level?

If a character dies, you should feel that. If a character accomplishes something, you should feel that. That's where you try to find that balance. It's impossible to articulate, as you go through it. You just have to recognize it.

When something arrives, you have no idea what's in it, which is good. And then, it's is the story leaps off the page at you and how your character functions within it. There could be just one scene and if it's wonderful, it doesn't matter how much you're working on it because you just want to be in it. It's really about what your character's day to day world looks like, and if you feel like that's something that's complete, and that you'd like to inhabit for awhile. You'll know by a couple of scenes in. If the character grabs you, you run with it.

I'm telling you, the theory that John F. Kennedy's assassination is what flipped the left in this country upside down and sent 'em into this out-of-control place they are now, I believe it. I think it did. They can't get their arms around the fact that a communist killed their guy. They just can't come to grips with it, and that's why they have to revise history and make it like Dallas did it - this festering boil of rabid extremism, anti-government, right-wing hatred!

What I do is, I'm like a disease that infects real people and I take them over. We can start off in a very journalistic mode describing a character and observing a character - and that's what I do with a lot of characters in my books. And then my imagination eats them alive.

Of course, people will call you an old artist or young artist, which is just a character of you. But personally, I don't think my work and my understanding of art is so much related to being Chinese, but the character of that. Maybe it's beyond my own consciousness.

When I'm writing music, I'm not playing a character. I'm not Alice Cooper or Gene Simmons or someone like that, who has acknowledged that they are writing music for a character.

If I retire doing the character, I don't think the character has to retire. There will still be caricatures of Elvira. You know, Dracula still works, and he's dead.

Every character sees the world through a framework of education and experience that they're proud experts about. To write a character, find out what they know best, and THEN you'll know how they'll describe a "hot day." Or a "pretty girl."

True faith takes its character and quality from its object. Its strength therefore depends on the character of Christ. Even those of us who have weak faith have the same strong Christ as others!

Yes, Charles Yu names his main character after himself. That main character, in fact, is both time-machine repairman and author of a book called 'How to Live Safely in a Science Fictional Universe.'

One particular night I was at the theater. I was not scouting for a project, but I was touched by this play by Évelyne de la Chenelière. I was touched by the character. I thought it was a rich character that could be rich enough for a movie.

Representation is actually when the character doesn't have lines, but the camera is lingering on them in their thoughts after something happened, and then we get to see them walk to their car. You really need to follow a character in order to understand what they're going through.

With the type of actor I am, which includes really diving into a role and making it as real as possible, there's nothing better than working in a real environment on location. It forces you to feel what the character's feeling, and it allows you to live in the space of the character.

I'd never played a character as long as I played Poussey. Spending time with her, so much time embodying that character, it was so - and still is and always will be - so special to me and a part of who I am.

When you're doing lots and lots of episodes and you're playing the same character, it's great because you really get to know the character and it becomes a really fast style and you find subtleties in it.

I know I can't make everyone happy, but I know I can do the most justice I can possibly do to a character, or any character, if I put my all into it. That's the choice you have to make.

I really tried to work out hard to emulate the look and feel of the character, and did my best to represent the great artists that created him. At the same time, as an actor you have to find what you relate to in the character and make it your own, and hopefully people respond to it.

You could say I'm a character actress. Or maybe a character actress who does peculiar, interesting lead roles. Does that make sense?

It was great fun to do because of the central character. With The Girl in the Spider's Web, the girl is really the central character. She's the whole thing.

When some English moralists write about the importance of having character, they appear to mean only the importance of having a dull character.

And from my character's point-of-view in Ravenous, he had been collected by Robert Carlyle's character, he had become infected by this ravenous, cannibalistic power, and he was making the best of it.

The centre of the tragedy, therefore, may be said with equal truth to lie in action issuing from character, or in character issuing in action.

Improv is such a huge part of my background, and a huge part of character discovery is really being inside the character and trying to think through them without the limitations of the script.

God is more concerned with our character than with our achievements. Achievements have importance only in the realm of time. Character is eternal. It determines what we will be through eternity.

When you're looking for a house, you're not looking for a house that's perfect. You're looking for that house to have character. And I think it's those little bits of humanity they come from the music. That's what the music brings out when you have that, it brings out the character of a song. You go back and listen to 30, 40 years of music, and all the great, great songs that we've had in our lives, they all have that character. They have that human nudge, they all have that human relation. You can relate to it.

In a way, I don't create anything; I just open myself to the character, and the character takes over. Of course, I'm aware of it, and I'm driving it, but I don't try to control it. If I try to control it, it goes wrong.

I loved playing Go Go, because the character's so extreme. And she's pretty close to my real character. Especially the fact that she liked her sword with a lot of accessories.

I always tend to see, right after reading the script, the character and how I want to play it. I guess that's sort of most of the work, preparing for the role, but almost the creation of the character seems to go on as I read through the script.

We live in the golden age of character actors - in an age when actors who have done their time in character roles are frequently asked to carry dark movies and complicated television dramas.

Geoff Johns is super talented, super smart. Part of what got me excited about the Aquaman character is his re-envisioning of Aquaman, the character, with 'The New 52.'

I judge the importance of my character by seeing how much the movie will be affected if you take my role out. If it does affect the film, then my character is important and if it isn't then I wouldn't do the film.

Strength of character and inner fortitude, however, are decisive factors. The confidence of the man in the ranks rests upon a man's strength of character.

I approach 'Fast & Furious 6' the same way I would approach a Sidney Lumet film. Getting into character's getting into character.

As human beings, of course, we're all compromised and complex and contradictory and if a screenplay can express those contradictions within a character and if there's room for me to express them, that's a part I'd love to play, so much more than a character who is heroic and one-dimensional.

Being a TV actor is quite different from being a movie star, and I always try and highlight my character. It is the reason why I am more inclined to taking frequent sabbaticals: so that when I return, people can identify with the character I play.

Sometimes I'll get a premise, you know, for a book. In fact, I get those quite often. And I don't commit to it until I really know the voice of that character. It's almost as if the character is speaking to me.

I guess my personality is that of a modern, strong Chinese woman. I don't believe in destiny. There are many things that can be changed. I don't like to be defeated by difficulties. I love freedom, so when I am shaping a character, I usually do it the way I want. I always find some part of my own character in a role.

When I commit to a role, I always tell myself that role is king. That's the Bible. If I start to judge my character, than it's going to influence my performance, and I don't want that. I want to find the truth in the character.

When you step inside a set and transform into a character, it's your first brush with that role. It doesn't matter who you have worked with. Every character will be a first in your life as an artiste.

I think television is really incredible because of the fact that you get to sit with a character for so, and the character does something different, every week. I think that's really interesting.

The more you know about the world, the more resources you have in terms of things that can inform your character or the circumstances that surround your character.

Character is character and voice is voice, which translates nicely from writing novels to writing TV. But the process is different. You have a writer's room, people pitch you jokes and you collaborate.

I like playing these awkward moments in between that build relationships. I don’t ever want to play that character that grabs the girl and has my way with her. That’s just not who that character is. If Daryl falls in love with you, he’s going to love you for the rest of his life.

There's no doubt West Point impacted who I am... It has an enormous emphasis, not only on military aspects, but character development. Whether it's the honor code, or the interactions you have, both with the cadet leadership and the academy leadership, every place you are is a character test.

People will have their guesses and opinions on my character, but anyone that's actually sat down and talked to me knows that I don't have any character issues, any off-the-field issues.

You want to try and bring a character to life in an honest a way as you possibly can. It doesn't matter whether he's a doctor, an actor, a car salesman or a captain of a starship. If you can bring truth and honesty to that character, then your audience will believe you.

People always tell me I'm nothing like my character. Well, hopefully not! He's a character who's very defined. He was purposefully written by Jo Rowling as very one-dimensional in the first few books, because you're supposed to hate him.

It's easier to set off a bomb that kills innocent civilians in a market than it is to plot an assassination, but that obviously was true before as well. I also think it's now easier to get attention for a small attack that goes off in a random market. It's almost like there's a marketplace for terror in the media, and these people are supplying the attacks, knowing that the media will cover them sensationally.

Definitely the script because you want to be part of an interesting story, you want your character to be a challenge, then comes the director. But essentially it's the script first and whether it's a character that you think you can do.

For any character, male or female, I think it's important to have... it's cliche to say a flawed character, but to really think about the good and the bad and make sure that both are present, and it doesn't just become a glossed over icon of perfection.

Physical excellence does not of itself produce a good mind and character: on the other hand, excellence of mind and character will make the best of the physique it is given.

Maybe it's the culture, maybe it's the cliché of Latino machismo, but the Mediterranean male character is more dull than the female character. Women are more surprising and they have fewer prejudices.

If you have a character that seems to be all perfect, it's hard to relate to him because when you read a story you really want to empathize with the character that you are reading about. And it's hard to empathize with someone who is flawless and who has no problems.

A man's character is the reality of himself; his reputation, the opinion others have formed about him; character resides in him, reputation in other people; that is the substance, this is the shadow.

I did not find that writing a diary with a lead male character differed in any essential way from writing one with a female character. They all had the same challenges in terms of attempting to establish an identity, coping with loneliness, friendships, relationships.