Top 1200 Character Design Quotes & Sayings - Page 16

I like playing complex, interesting characters. Sometimes I don't think there's much of a strong line between right and wrong for a character. Every character is somewhere on a moral spectrum.

There is a natural disposition with us to judge an author's personal character by the character of his works. We find it difficult to understand the common antithesis of a good writer and a bad man.

I`m lucky in that in my character in hip hop is me. I`m Michael Render. My character is Killer Mike. But the truth that I sing in my raps align themselves with the policy of Bernie Sanders.

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.

I think it's hard to differentiate between your wrestling character and your real character - you kind of end up being both. I've always been my wrestling character in and out of the ring and in and out of the dressing room, and I was always really respected in the dressing room by the other wrestlers.

It wasn't until 'Double Take' that I was in a movie as the leading man, in a character that was more straight and less broad than the other character, and where the story is really about him.

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.

Once you watch any character for nine-and-half hours, be it good, bad or grey, you tend to attach yourself with it. You always feel for the character, even if he is a villain.

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.

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.

The higher education so much needed today is not given in the school, is not to be bought in the market place, but it has to be wrought out in each one of us for himself; it is the silent influence of character on character.

I don't shoot two films at the same time. I finish one character and get into another character because I change my look for every film. It's difficult, but I enjoy doing that.

The Villain wasn't necessarily something I sat down and thought, 'Oh this is going to be my character.' It's most like other great wrestling characters, where it's more of a reflection of my actual character.

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.

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.

Human character is just endlessly fascinating, and there is no character who is one thing any more than any one person is just one thing. As you work on a character, he/she is revealed more and more. That's what I continue to love about the work.

Making a film of a work you've played for six weeks gives you intimate knowledge of the character. By the time you go in front of the camera you've worked out the behavior and life of a character.

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.

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.

When I'm looking for a strong female character, or a strong character at all, I'm looking for a character that has a purpose in that story, that has an interior life of some sort. They don't have to be physically strong; they don't have to be morally strong or ethically strong, because men and women come in a huge variety of all of those things. Emotionally, ethically - I'm less concerned with that. I just don't want them to be props. That's the only thing that offends me.

With films it's not usually that I have a particular character I'm looking for; I'll read the character and my imagination will start spinning and I'll go, "Yes, definitely." I'm thinking it would be nice to keep challenging myself.

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.

The advice that I usually give to young actors is that if you can create a character for the stage and keep that character fresh for at least 6 months that means you're doing the show eight times a week.

I think as an actor... I don't like to compare a character to anybody else, just because I respect other people's work, and I want that character to have his own identity.

What a character wears and how it affects their mood and their movements has always been very important to me. A character's clothes, if they're truthful, can make audiences feel something.

It's true I have a hard time with the notion of creating a character. And I feel it's a limit. I'm always really impressed by actors who are able to construct a character, like Johnny Depp.

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.

Obviously, when you're in theater, you have to be in character. You have to prepare for the unexpected. You have to be able to react to things that don't necessarily happen every night, or aren't supposed to happen every night. And you have to react to it in character. In six months, 192 shows, those things did happen. And the experience of that, the ability to stay in character, I feel like I've learned a great deal.

Language designers want to design the perfect language. They want to be able to say, 'My language is perfect. It can do everything.' But it's just plain impossible to design a perfect language, because there are two ways to look at a language. One way is by looking at what can be done with that language. The other is by looking at how we feel using that language-how we feel while programming.

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.

For me, personally, I'm more comfortable with what I would call third-person entertainment, meaning watching a character that's explicitly not me and experiencing something through a character's eyes, than what I would call first-person entertainment, which is a video game in which I am the character.

Every actor has his own approach towards acting. I believe you do not become the character you are playing. You may get closer to it but you do not lose yourself. There's just a reflection of the character in you.

Eventually we got to a point where 'Riverdale' came along, and it was a character that was originally written white, and I saw this as an opportunity to take a classic American character and make them Asian.

What I look for is identifying what the utility of a character is to the telling of the story overall. If I can identify that from reading the script, then I've got a clear idea of whether or not I think the character is worth playing.

You have to be completely in the character, and that's so hard to do. That's why, when they call, 'Cut!,' you often feel yourself shift. Unless you're Daniel Day Lewis, who stays in character all the time, there's a switch that happens.

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.

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.

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.

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.

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.

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.

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.

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.

The chance to play a romantic character who kisses somebody onscreen was one of the elements that made me want to do 'The Stand.' The more you can do, the better, and I've been known as a character actor.

There are some actors that want you to call them by their character's name and they have no relationship with you outside of the character. But I like to get to know who I'm working with so that we can relax together, and it's more fun.

How many times can you play an action character, or a quirky romantic? Every actor has to find his own way to make each character unique.

'Fringe' is essentially a love story, so the scenes where Walter had close connection with Peter, but also with Anna's character or Jasika's character, were very special to me.

My approach to Pennywise was, on one hand, I wanted to stay true to the essence of the character but at the same time make it an edgier character that is basically unpredictable and people won't expect everything he comes up with.

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 believe that all novels, ... deal with character, and that it is to express character – not to preach doctrines, sing songs, or celebrate the glories of the British Empire, that the form of the novel, so clumsy, verbose, and undramatic, so rich, elastic, and alive, has been evolved ... The great novelists have brought us to see whatever they wish us to see through some character. Otherwise they would not be novelists, but poet, historians, or pamphleteers.

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.

People will talk about character arcs, but you look at the character arc of C-3PO from 'Star Wars' to 'Return of the Jedi,' and it's a complete 180... he's not so much of a coward and a fussbudget.

Costume, hair and makeup can tell you instantly, or at least give you a larger perception of who a character is. It's the first impression that you have of the character before they open their mouth, so it really does establish who they are.

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.

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.

51st State was one that I loved doing because the character was so out there, and in a way I was sad to leave the character behind. I'm afraid I could never be that cool in real life!

I was a directing student and a production design student at Carnegie Mellon. I went in as a production design student and became a directing student.

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 try to look at every role the same way, regardless of whether the character is real or the character is a fantasy. I always start from myself, because you have to know yourself first.

Think about the market, think about the design, and think about who is going to design for that market. Hit the mark.