Top 1200 Character Building Quotes & Sayings - Page 20

Character is far more important than intellect in making a man a good citizen or successful at his calling- meaning by character not only such qualities as honesty and truthfulness, but courage, perseverance and self-reliance.

There are just times when your body and your soul feed into a character and you somehow meet at the point where that character truly lives in you. It happens in plays, in TV, in films.

I honestly do think that every character - you pick up the things, little things that you like about them in your life. Especially if you play a character for a long time.

There have been times I thought that when I got a certain point in the story, a certain character was going to do a certain thing, only to get to that point and have the character make clear that he or she doesn't want to do that at all. That long phone conversation I thought the character was going to have? He hangs up the phone before the other person answers, and twenty pages of dialog I had half written in my head go out the window.

My social media is very strict to my character and I've disabled comments on a lot of things because why would the Aleister Black character care about comments?

My hope is that people will be repulsed by the character's complete lack of ethics and obsession with consumerism - that's what I was saying about the difference between the character's message and the film's message.

First and foremost, stepping into something like a Marvel project is insane. I mean, my character is from 1968, and she's the second female X-Men ever. It's exciting, but it's also a great amount of pressure to do right by the character.

I would really like it if someone knows me more for a character that I've played. If they call out the character's name instead of mine by mistake, it would be lovely.

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.

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.

In 'Yours Truly,' I was the centre of the story; I was the protagonist. There was a lot more happening inside the mind of the character which was not projected loudly through dialogue and action... As a performer, playing such a nuanced, internal character is challenging.

Lee Dam is a character who expresses her feelings honestly. I thought we had a lot in common and I've always wanted to play a confident character like her.

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.

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.

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.

At Second City and improvising at iO, you're creating a character in an instant. All of a sudden, you're creating this history and this past for your character, and you're discovering it while you're doing it, and that's part of the fun of it.

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.

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

My job has always been to not only make my character look like a badass but to also make the actor I am fighting opposite to be the character they need to be too.

My size has helped make me an amazing performer too. The cliche of the Funny Fat Friend: I absolutely was that character - I am that character... It's a complicated bag of tools I acquired, and I've put them all to work onstage.

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

You have to make a choice, and you have to commit to a character. You're either a babyface or a character that the fans relate to, support, love and aspire to be, or you're not. And if you're not, you're a heel: you're despicable, and they need to learn to love to hate you.

I wouldn't want to play a character that knew everything and knew where to go. It is much more interesting playing a character that is vulnerable trying to be strong. It makes for better TV.

I don't approach my character in a set pattern. I want to get into the skin of the character. I don't love Manoj Bajpayee; I love all my characters. And that is why people today remember all my roles.

Most famous artists are created by their work and the idea of them as a character, and if they're smart and ambitious, they reinforce that character because they want to win. They want their views to prevail.

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.

Acting is very much like a child making believe. I'm not one to become a character, but I fall in love with the character. It's like having faith; you're going to be that person for a while.

All I try to do is as earnestly and as acutely as I can, conceive a character and try to portray this character just honestly. If the humor is within the absurdity and the awfulness of situations, then let it be seen that way.

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

It's important to fight for your character but at the same time realize there's a bigger picture involved and, you know, this is a character that's shared by everybody. It's not just purely your own.

If there's anything Trollope novels always take seriously, it is money - how it flows from one character to another, how it is managed, who has it, who deserves it, and what it means to a character, male or female.

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.

Like most young physicists, when I was a kid enraptured with physics, I thought, "Everything can be explained by the theory of the atom!" But as I've gotten older, and I look at the world, I think there's a lot of ways in which that kind of building up from the smallest building blocks doesn't actually account for the world. As I've gotten older, I've also become sensitive to the ways - to all that is not amenable to explanation. Things that, even if you had an explanation, what good would it be?

I want to look at this character from all points of view. I know I don't want to make them all good or all bad or all anything... the story itself often helps create the character.

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

A song in a musical works best when a character has to sing - when words won't do the trick anymore. The same idea applies to a long speech in a play or a movie or on television. You want to force the character out of a conversational pattern.

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.

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.

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 think the first time you have to change code you’ve written previously, to add features or remove a bug, you realize that you could have done it better in the first place, that you could have found an architecture that would make it easier to transform and grow the code. And this is terribly seductive—you’re not just building a solution to a problem, you’re potentially building a beautiful solution, with ‘beautiful’ here being defined here by an aesthetics of present and future functionality. This can be a trap.

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

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

Knowledge is essential to conquest; only according to our ignorance are we helpless. Thought creates character. Character can dominate conditions. Will creates circumstances and environment.

It's always exciting to create a character that people can relate to, where people are like, 'Oh, I know this dude,' but maybe you've never actually seen this type of character on TV.

Life experiences help in understanding the character. And many things come to your mind regarding the character sketch when you read the script as many times as possible.

There were never a lot of attacks on my work. We were building more parks than were ever built in the city, building more recreation centers, fixing more streets. We had national events, the Super Bowl, the (Major League Baseball) All-Star game, Final Four. We built seven hotels. The city hadn't built a hotel in 20 or more years.

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.

'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.

When you're on screen with Mads, there's some real fireworks because your character is his intellectual equal. In a way, maybe your character has an instinct as to who this man really is.

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.

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.

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.

The character truest to itself becomes eccentric rather than immovably centered, as Emerson defined the noble character of the hero. At the edge, the certainty of borders gives way. We are more subject to invasions, less able to mobilize defenses, less sure of who we really are, even as we may be perceived by others as a person of character. The dislocation of self from center to indefinite edge merges us more with the world, so that we can feel blest by everything.

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 clothes, the shoes, the gold belts and the necklaces always click me into the character, for sure. You could not feel the character, and then you put on the shoes and get the walk.

I suppose the underlying current for me is the idea of not doing something I've done before. I call myself a character actor and I'm always trying to stay a character actor.

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.

When you do a play, or even a movie, you have weeks to finesse your character. You really understand why they do what they do. In TV, you get new material weekly about your character.

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.