Top 1200 Characters Quotes & Sayings - Page 2

Comic book characters are characters who wear costumes. They're not necessarily different than other characters. The trend I think that you're seeing are comic book movies, at least the ones that Marvel makes, don't have comic book stories. They have dramatic human stories.

We've had characters like Trump in American politics forever, characters who trade on xenophobia.

I never used to kill characters, because I thought killing characters was cheating.

What makes an audience watch something and care about the characters is the emotional life of the characters.

I've sort of dealt with the characters' lives more; particularly the women characters.

The thought of the novelist lies not in the remarks of his characters or even in their introspection but in the plight he has invented for his characters - in the juxtaposition of those characters and in the lifelike ramifications of the ensemble they make: their density, their substantiality, their lived existence actualized in all its nuanced particulars, is in fact his thought metabolized.

As an actor, I'm constantly striving to find the darkness in the lighter characters and the lightness in the darker characters.

So the fact that there's someone who's planning what happens to the characters, writing it down, means that the characters always have a fate. And when we think about fate, we tend think of it as the thing we would have if we were literary characters, that is, if there were somebody out there, writing us.

I'm drawn to female characters, not all of them are strong characters. I think I'm drawn to female characters partly because they don't have as easy or as obvious a relationship to power in society, and so they suffer under social constraints or have to maneuver within them in ways men sometimes don't, or are unconscious about, or have certain liberties that are invisible to them.

I have been fortunate enough to be offered characters and projects that challenge me and that are different from the characters that I have played.

I like to play very raw characters, characters who have a degree of vulnerability and passion about what they're doing.

I feel my fuller-bodied characters are all in the independent films I do, and in the studio productions, I have to work harder to dimensionalize the characters. And that's certainly part of the job description of an actor - that's what you're supposed to do - but you have to work harder at it in the characters that I've encountered in studio films.

My characters - no, make that most characters - are seeking the shelter of narrative resolution, a place of quiet and grace.

Making a movie is about following characters and embarking on an adventure with them, seeing their reactions, and seeing what they do, having empathy for those characters, feeling for those characters, embarking on this adventure.

DC characters are from a different era than Marvel characters.

I never went to school wanting to play cute characters or girly characters.

Normally, when youre working on something, there are other characters that you have alliances with, and you have unified goals with some characters.

I like my male characters as much my female characters, but I always seem to have less for them to say.

When I do my job, I dive into these characters and try to flush something out of myself into these characters, and hopefully that translates well.

The 'Fargo' characters, they're the characters of my people. They're stoic, hardworking, uncomplaining, and I loved them.

Normally, when you're working on something, there are other characters that you have alliances with, and you have unified goals with some characters.

All the characters in my books are imagined, but all have a bit of who I am in them - much like the characters in your dreams are all formed by who you are

I would like to carve my novel in a piece of wood. My characters—I would like to have them heavier, more three-dimensional ... My characters have a profession, have characteristics; you know their age, their family situation, and everything. But I try to make each one of those characters heavy, like a statue, and to be the brother of everybody in the world.

When writers are self-conscious about themselves as writers they often keep a great distance from their characters, sounding as if they were writing encyclopedia entries instead of stories. Their hesitancy about physical and psychological intimacy can be a barrier to vital fiction. Conversely, a narration that makes readers hear the characters' heavy breathing and smell their emotional anguish diminishes distance. Readers feel so close to the characters that, for those magical moments, they become those characters.

I think it's more fun to grow to love characters who are flawed than it is to present perfect characters. Perfect characters aren't very funny. Certainly my friends are a strange, intense bunch of people, and people's families drive them crazy, but challenging relationships are always more rewarding.

In terms of my relationships with a lot of the adult characters, when I was working with Harrison, it wasn't like a verbal agreement, but we both understood that because there was this constant tension between our characters, we couldn't say "Cut" and start acting normal. We had to keep an essence of that relationship in our characters off screen which is really important.

I do not allow fan-fiction. The characters are copyrighted. It upsets me terribly to even think about fan-fiction with my characters. I advise my readers to write your own original stories with your own characters. It is absolutely essential that you respect my wishes.

I want to have compassion for my characters - I feel like I am the characters when I'm writing them.

Nice characters are boring! I like writing upbeat characters - that's my natural tendency.

I choose grey characters, as I enjoy playing a human character. I don't shy away from showing the shortcomings of my characters.

After Shakespeare, Dickens is the great creator of characters, multiple characters.

I don't categorize characters into one syllable. These are fully-rounded characters that I don't judge; I just play them.

When you are drawing characters to serve a plot purpose, you tend to get flat, stereotyped, unliving characters.

I don't find the characters I've played funny. The characters are actually taking their situations very seriously.

I definitely did not play myself. As the writer of the script, I have traits of all the characters. I can relate to all of the characters.

I prefer playing characters that are going through turmoil. Most movie characters are just in service to the story.

In a sense, all actors are character actors, because we're all playing different characters. But a lot of the time - and I don't know, because I'm not a writer - but writers a lot of times write second- and third-tier characters better than they write primary characters. I guess they're more fun.

I never really thought about what characters I play. I always just wanted different characters.

I have a huge emotional attachment to characters I've created, especially the viewpoint characters.

There are so many quirky characters, it's easy to fall in love with any number of the characters on 'The Carrie Diaries'.

At first, like every other actor, I wanted to do characters with deep traits - what we call 'serious characters.'

All the characters in my books are imagined, but all have a bit of who I am in them - much like the characters in your dreams are all formed by who you are.

I have had issues in the past with the characters and the limitations of the characters and the structure of the narratives given to me as a woman of color.

To me, feminism in literature deals with the female characters being in some way central to the thematic concerns of the book, or that they are agents of change to some degree. In other words, the lens is focused deeply and intensely on the female characters and doesn't waver, which allows for a glimpse into the rich inner lives of the characters.

I've tried to be inclusive in my '2B' series. Over the course of three books, I wrote African-American characters, a paraplegic character, gay and lesbian characters, a bisexual, Jewish heroine, a multiracial hero, Korean and Chinese-American characters, and a multiracial supporting character.

There's a remarkable amount of sexism on TV. When male characters are flawed, they're interesting, deep and complex. But when female characters are flawed, they're just a mess. It's good to put more flawed but interesting female characters out there because it promotes equality.

I suppose I'm always looking for a sort of acuity of perception either in my characters or about my characters.

I'm not a fan of gushing emotions. I think that probably shows in all of the characters I play. I try to reinterpret the characters in my style.

I don't see female characters as different or inferior to male characters.

Characters make their own plot. The dimensions of the characters determine the action of the novel.

I like to think of characters in relation to other cinematic characters.

There are so many quirky characters, its easy to fall in love with any number of the characters on The Carrie Diaries.

Characters are story. And any great plot or subplot is driven by the characters' wants and desires.

I have a tendency as an actress in general to ground my characters. Even when doing outlandish characters, that's my instinct.

Characters do not change. Opinions alter, but characters are only developed.

The American horror movies are more moralistic, they have not only good characters, but characters where the ultimate danger is death. What I like about European cinema is they have another sense of what's good, what's bad, and sometimes all the characters are far more complex than just that. It's less binary, the Giallo genre.

I am drawn to characters that go on journeys, characters that are real people, that have life.

People come, people go – they’ll drift in and out of your life, almost like characters in a favorite book. When you finally close the cover, the characters have told their story and you start up again with another book, complete with new characters and adventures. Then you find yourself focusing on the new ones, not the ones from the past.

I do remember being a fan of the Marvel characters and not liking the DC characters at all.

What's the difference between Hollywood characters and my characters? Mine are real.