Top 1200 Character Building Quotes & Sayings - Page 16

You get to know a character that you play on-stage in a pretty profound way over a length of time. I don't want to sound highfalutin and say you become the character, you just start bringing more and more of yourself to the part until the character and actor, it's hard to tell them apart. It's some weird amalgam. In film, because of the period of time, I don't know that you ever get that deep into it.

What you can do with visual effects is enhance the look of the character, but the actual integrity of the emotional performance and the way the character's facial expressions work, that is what is going to be created on the day with other actors and the director.

Culture is a sham if it is only a sort of Gothic front put on an iron building -- like Tower Bridge -- or a classical front put on a steel frame -- like the Daily Telegraph building in Fleet Street. Culture, if it is to be a real thing and a holy thing, must be the product of what we actually do for a living -- not something added, like sugar on a pill.

I want to read about a character doing something fairly quiet where I can picture who the character is, and what their attitude towards the world is - which I'm a lot more interested in than what they do under the pressure of a gunfight.

When I create a character, particularly my central character, I want someone who is interesting and feels real and who might have quite a few virtues but is unlikely to be perfect, who hasn't necessarily made all the right choices.

You know, I always got offered other stuff. Not the romantic leads, obviously. But very often it's a role that's underwritten, where the character has no personality at all. And they need a character actor who can fill it in.

There were episodes where I would wear seven or eight outfits. It took a lot of time to get those together. What the character wears is very essential to how I create the character.

Character is something each one of us must build for himself, out of the laws of God and nature, the examples of others, and - most of all - out of the trials and errors of daily life. Character is the total of thousands of small daily strivings to live up to the best that is in us. Character is the final decision to reject whatever is demeaning to oneself or to others and with confidence and honest to choose the right.

...Intelligence and character of the masses are incomparably lower than the intelligence and character of the few who produce something valuable for the community.

I would rather be adorned by beauty of character than jewels. Jewels are the gift of fortune, while character comes from within.

Architects, painters, and sculptors must recognize anew and learn to grasp the composite character of a building both as an entity and in its separate parts. Only then will their work be imbued with the architectonic spirit which it has lost as salon art. Together let us desire, conceive, and create the new structure of the future, which will embrace architecture and sculpture and painting in one unity and which will one day rise toward heaven from the hands of a million workers like the crystal symbol of a new faith.

Every movie I work with the costume designer to see what feels like the character, not what Columbus would wear but what is right for the character. Outside of the armored truck standard issue security guard uniform, this guy is trying to make ends meet. He might have one pair of jeans, the same boot, maybe changes his shirt but he doesn't have a walk-in closet full of things, so I wanted something comfortable that felt like the character.

The more a character wants and the less a character has the ability to get what they want, the more you have an endless fuel for storytelling in comedy.

Fate, they say, fate- the clay that molds the events of your life, and it was the same fate that had thrown the stone of her heart on the building of his expectations. But then wasn't it his fault that he had constructed the building of glass? Hadn't he failed to cement the bricks of his love with trust and colour them with security? There was no insurance for broken hearts, no ointment for wounded souls and there would never be one, he knew.

My key interest in choosing scripts is character-driven stories, because there are so many stories that sacrifice character for plot.

On the last day of every character I've ever played, I lay the clothes out on the floor with the shoes and socks, so that it looks like the character has literally vanished. That's the way you have to leave them.

That's what we do in the WWE: we tell stories; we're characters. We go into the ring, and my character is telling a story in the ring against another character.

If you can find a way your character moves, you know more about your character than you'd ever dream.

The way it works for us is, when I watch a character and I connect to a character, I'd love to bring them back and see them again.

So many stories have been told about Black Lives Matter. The beauty of building out a decentralized network, the beauty of building out something that's a hashtag, is that so many people can take it and run with it. The bad part about that is so many folks can take it and run with it - and misuse it and co-opt it.

I would love to do an anthology show based on the character of Jesse B. Semple that Langston Hughes wrote about. He's sort of a Forrest Gump character in the midst of 20th century Harlem.

I do love that witches haven't really been explored that much. Usually, witches are the little side character... a bad female character that comes in and leaves.

It was seriously just a name. They didn’t tell you what to do. They didn’t tell you how they wanted the character to be - nothing. You went in to audition for this character name and that was it. When I started, before I came onto the set, I went to Gene Roddenberry and said: hey, what do you want from this guy? Who is he? And being as smart as he is, he said: don’t listen to what you’ve heard or read or seen in the past, nothing. Just make the character your own. And that’s what I did.

I doubt that I could create a character I loathed simply because when a character takes life, it is impossible not to be a little amazed by the phenomenon, and to find that the amazement has something of the quality of delight.

Be thankful that sometimes God lets you struggle for a long time before that answer comes. Your character will grow; your faith will increase. There is a relationship between these two: the greater your faith, the stronger your character, and increased character enhances your ability to exercise even greater faith.

I can honestly say Ive never thought for a second about whether a character reflects poorly on any group. All that matters to me is that the character is true to my belief in who he or she is.

It makes it easier, if you can't do an American accent. I don't know. It's different. I played a character in Never Let Me Go where the script for my character was very sparse, and I enjoyed it. With Never Let Me Go, I had a whole book written from my character's point of view, so I always knew where I was. But, with Ryan [Gosling], it was just easy. He's such a brilliant actor and he is so prepared. He doesn't have to warm himself up to be in a scene. He's just in it. It draws you in, in a way.

Most of the comedy characters I played have been extensions of my own personality and very similar to Mike Channel. It's a weird eclectic mixture of your genuine character and the character you portray.

My approach to the work is the same, whether I had the lead or a supporting role. I consider myself a character actor in the true sense of the word. Unless I'm doing my autobiography, I'm playing a character.

I'm a character actor but unlike a lot of character actors, I don't look radically different from film to film and there was a bunch of them at once.

I tend to foster drama via bleakness. If I want the reader to feel sympathy for a character, I cleave the character in half, on his birthday. And then it starts raining. And he's made of sugar.

I prefer not to wink out from behind the character as myself, saying to the audience, "It's just me here, right, guys?" Peter Sellers is my model, and he didn't do that - he wore his character from head to toe.

Every characteristic of my character and my moves always came from my real life. My character is kind of close to my real personality.

When I was acting, I got trained in creating a character as a three-dimensional person. If you're doing it right you should be able to draw an audience into the character's world and make them feel their fears.

I need to be able to write a poem after every film and to kind of cleanse myself from the character because for about three months or so, I'm constantly living through the character's eyes.

Well, I've always been a character actor, you know, and you always get your share of character actors who are bad guys.

Undeniably, character does count for our citizens, out communities, and our Nation, and this week we celebrate the importance of character in our individual lives... core ethical values of trustworthiness, fairness, responsibility, caring, respect, and citizenship form the foundation of our democracy, our economy, and our society... Instilling sound character in our children is essential to maintaining the strength of our Nation into the 21st century.

I'm not a big fan of violent movies, it's not something I like to watch. And it's not my aim or goal to make a violent movie. My characters are very important, so when I'm trying to depict a certain character in my movie, if my character is violent, it will be expressed that way in the film. You cannot really deny what a character is about. To repeat, my movie end up becoming violent, but I don't start with the intent of making violent movies.

There's no need for a female character that does things like a male character; that's not what makes interesting female characters in my view.

You just play what a writer writes, in terms of what a character chooses to do and how a character chooses to deal with their various relationships.

I try mainly to just focus on character and what my character's point of view is, with each person, and try to figure out story.

I guess I'm the perfect young lead actress. I'm not Chloe Sevigny - I'm not really a character actress. Some actors have "character" faces.

When I'm inside the character, I feel like I'm a different person, and then when you see that character on screen and I see that it's me, I find that disappointing.

Whether a character in your novel is full of choler, bile, phlegm, blood or plain old buffalo chips, the fire of life is in there, too, as long as that character lives.

For Marvel, we've never looked at any of our characters in terms of gender, race, or religion. It truly is about, who is the best character for the story? If that character happens to be a woman, fantastic.

I can't negotiate and collaborate with a character to create a distilled dramatic investigation of the raw material. I need to work with an actor. That stuff about actors who stay in character all the time is nonsense.

Adversity is a crossroads that makes a person choose one of two paths: character or compromise. Every time he chooses character, he becomes stronger, even if that choice brings negative consequences.

I had much rather be adorned by beauty of character than by jewels. Jewels are the gift of fortune, character comes from within.

My history is that I will create a character, and they will have a book to themselves, and then I'll integrate the character into the larger world of all my books.

I'm an actor. I'll take a lead if it's offered. The really good actors can fill a character, no matter what the role is. A good leading man is a character actor; a good character actor can be a leading man.

In 'Out of the Dark,' I'm talking about my own life. I'm not talking as a character or speaking as a character. I was not as free as when I write fiction.

When you get to play a character that's in love, it's cool. Once you have love as a motivator in a story, your character is free to do anything.

The first thing I read was of my character on the phone talking to Sydney's fiance. Though short, it was so beautifully written, and it made me laugh. I thought if I wanted to play a character, this would be it.

I'm an actor, I created the character myself originally. I do tell the fans I appreciate that they think he's real. It all finally comes down to the writers who really got the character and wrote so many memorable lines.

I didn't really look like a character actor, yet those were the roles I loved to play. If you were a character actor who didn't necessarily look like a character actor, you had to play bad guys.

We did so much work developing the character of Kratos, why would we throw all that out? We're sort of treating the first seven games like chapter one of this character's life.

The ultimate aim of all artistic activity is building! ... Architects, sculptors, painters, we must all get back to craft! ... The artist is a heightened manifestation of the craftsman. ... Let us form ... a new guild of craftsmen without the class divisions that set out to raise an arrogant barrier between craftsmen and artists! ... Let us together create the new building of the future which will be all in one: architecture and sculpture and painting.

We pay attention to every demographic in every country, so we're going to focus on building things that teens are going to like, and we're also going to focus on building things that other folks are going to like.

In 'Kalank,' I am playing a character, which is quite strong, quiet a little complex yet interesting, that drew me towards the character when I heard the narration from director Abhishek Varman.

You want, in a sense, to relate to the main character, so often, the main character POV is a bit more of a blank slate.