Top 1200 Character Of A Person Quotes & Sayings - Page 15

I think often times on Joss Whedon's shows he can make you hate a character for a period and then love the character. He does it effortlessly.

The moral absolutes rest upon God's character. The moral commands He has given to men are an expression of His character. Men as created in His image are to live by choice on the basis of what God is. The standards of morality are determined by what conforms to His character, while those things which do not conform are immoral.

I'm totally comfortable today with the success that Omar and 'The Wire' have brought me - living with that character, being recognized and remembered for that character.

I remember I had to go and ask my mom for groceries sometimes because I wasn't the best person with budgeting. I had to learn the hard way, but you live and learn. It builds character and strength.

It is a good plan, with a young person of a character to be much affected by ludicrous and absurd representations, to show him plainly by examples that there is nothing which may not be thus represented. He will hardly need to be told that everything is not a mere joke.

The interesting thing about my character Sylar is that my strengths as an actor seemed to go completely against the shape of a character in the shadow.

Every decision that affects our lives will be made by the person who has the power to make that decision, not the 'right' person or the 'smartest' person or the 'best' person. Make peace with this fact.

You're in everyone's homes every week as this character, and they feel like they know you, and then they start to really define you as this character that you portray.

Even though the 'Shooter' character on TV is so close to the real-life me, I'm still playing with ways to creatively portray that character.

I never base a character on someone I know. You can get ideas from real life, but every character you write is some aspect of yourself.

It is very satisfying to see people praising you and your character, and the journey of the character moved them. It gives you a lot of confidence as an actor.

The glory of the nation rests in the character of her men. And character comes from boyhood. Thus, every boy is a challenge to his elders.

There is an inalienable law. Whenever a character on screen pities himself, the audience stops pitying him. They will cry so long as the character doesn't.

I don't have any single character that is my favorite because I would like to be known for the sum total of my work and not for an individual character that I might have played.

There's the acting side of it so you work with a coach. Dissect a script. If it's a character, then obviously a character study. Just depends on if there is training needed.

When I am searching for a character, I leave myself open, as does a medium. And I think that sometimes you can be inhabited by the spirit of someone who lived at some time or who was a bit like the person you are doing. And maybe they come in and use you as a chance to relive again.

Every character needs an adversary - one who is both challenging and a contrast for the hero. The best adversaries reveal something about the character they're contrasting.

If you change a character too much, the audience falls out of love with the character, but characters need to evolve and grow over the years.

I've noticed though that people will always assume you are the character you last played. I guess it's a compliment to playing your character convincingly.

It's nice to be able to explore both sides of my personality. I definitely relate more to Debbie, my character on The Grinder. But it's really nice because I get to play a character who's down on her luck and kinda slipping off the edge in It's Always Sunny, while at the same time getting to play this character who's a mom and holding it together on The Grinder.

It is the ignorant person who seeks his or her own ends at the expense of the greater whole. It is the ignorant person, therefore, who is the selfish person. The truly wise person is never selfish.

The actor is there to translate what's on the page onto the stage or the screen. So I find it important that an actor manages to actually get out of the way, vanish as a person behind the character, never to be seen or talked about again. That's my philosophy.

The main thing in acting is honesty, to feel the humanity and get to the essence of the character. You can't put anything into a character that you haven't got within you.

Character repudiates intellect, yet excites it; and character passes into thought, is published so, and then is ashamed before newflashes of moral worth.

I have a strong and strange character, and I've rarely met directors who knew what to do with this character. One of the few who did was my father, and in the theatre, Arthur Nauzyciel.

First of all, the actor needs to get out of the character's way. You follow the character without judgment or prejudice or preconceived ideas.

In dramatic writing, the very essence is character change. The character at the end is not the same as he was at the beginning. He's changed-psychologically, maybe even physically.

You will never be able to truly step inside another person, to see the world as he sees it, until you develop the pure desire, the strength of personal character, and the positive Emotional Bank Account, as well as the empathetic listening skills to do it.

In this consists the difference between the character of a miser and that of a person of exact economy and assiduity. The one is anxious about small matters for their own sake; the other attends to them only in consequence of the scheme of life which he has laid down to himself.

Audiences make their minds up about people they see on screen, just like they do in real life. That's what fascinates me in film. You see a character and have to think: is this person different to what I assumed he was when I first saw him?

There are times when I look over the various parts of my character with perplexity. I recognize that I am made up of several persons and that the person that at the moment has the upper hand will inevitably give place to another. But which is the real one? All of them or none?

In Los Angeles, the jury in the Reginald Denny Beating trial, after much thinking, concludes, that Person A is not necessarily trying to kill Person B just because Person A happens to very deliberately bash Person B's skull in with a brick. The verdict is applauded by scientists at the Tobacco Institute.

What gets us excited about any movie is the social relevance and the character themes and the character journeys and like the adventure story.

Well, one of the problems of working on a story with a character that sacred in the religions of the world or in a picture about that person, is that you have to forget about that and play it as real as you can because you can't look at yourself and judge yourself.

I've never tried to measure myself on any scale. A person is more multifaceted than the label they often get stuck with. On the other hand someone's whole behaviour allows you to characterise them in a certain way. This person has liberal convictions, that person has conservative ones, this person is a radical socialist, and so on.

The predominant difference between television and film is the pace to which you work, but the development of the character or the process for playing the character isn't necessarily different.

I think I used Christine, who is my stage character, as an excuse to finally be myself, as if I needed to say, 'Oh this character is going to be the woman I wanted to be.'

I like good stories. Quality products and character are what's important. Even if the script isn't that strong, if I challenge myself with a great character, I'll go for it.

There's nothing more liberating about starting with something that is not written. You pretty much create the history of that character and that character's life story.

I have always regarded Mr. Bean as a timeless, ageless character, and I would rather he be remembered as a character mostly in his 30s and 40s.

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.

That's what I love doing - understanding another person's perspective that's really different from mine. To me, it's like an emotional puzzle, trying to figure out the humanity of a character who is very different from myself and why they think the way they do.

I feel it's very important for an actor to believe in the character that he/she is playing and do full justice to it in order to convince others that you are the character you are portraying.

It's a challenge to work a character's arc into a format in which you only have a very limited amount of time to grow and develop a character.

Be it TV, films, or stage, I love substantial roles. The length of the character doesn't matter, but if the character is well thought, then I have to grab it.

The way I write my shows, every character is its own organic thing. No character has a life at all until I see it played by somebody.

You had been a paper boy to me all these years - two dimensions as a character on the page and two different, but still flat, dimensions as a person. But that night you turned out to be real.

Strangely enough, the first character in Fried Green Tomatoes was the cafe, and the town. I think a place can be as much a character in a novel as the people.

When you describe a character's dream, it has to be sharper than reality in some way and more meaningful. It has to somehow speak to plot, character, and all the rest.

Once, during an interview in front of my wife, I was asked, "Are you one of those actors who brings your character home? Do you stay in character?" I said, "No, not really. I don't do that," and she started laughing. I asked her why. She said, "Well, you might think you don't bring characters home, but you do." So, while I don't feel like a character is lingering, it probably is.

As an actor, it's important to feel for the character, as you will be watched by audience, and when you start feeling your character, you share a sense of happiness and achievement.

Sometimes when a character in a novel is difficult for me to enter, I sue something in myself or in my own life as a doorway into that character's mind and emotions.

If a person is working toward a predetermined goal and knows where to go, then that person is successful. If a person does not know which direction they want to go in life, then that person is a failure.

If you want to do your version, go off and write it. You bring your knowledge to it, and you can use that to shape it and color it, but it's someone else's version of that character. You're not actually playing the real person.

Dubbing can change the 'sur' of the character. Doing it for another actor and to make it believable is tricky but interesting because you do not know the graph of the character.

I'm a great believer in the character of a club. To me, character has a lot to do with how you compete. That creates urgency and toughness. That elevates the talent that you have.

Rather than just making a movie about video games, I wanted to start with the character and what the character was going through.

I find that in preparation for a drama you can do a lot of character work and develop the character and know what you want to achieve and project throughout the course of the film.

One never gets to know a person's character better than by watching his behavior during decisive moments.... It is always only danger which forces the most deeply hidden strengths and abilities of a human being to come forth.

I would love nothing more to participate in a real struggle to find a character, and really delve into and develop a character. That's why I'm an actor.