Top 1200 Complex Character Quotes & Sayings - Page 20

You could say I'm a character actress. Or maybe a character actress who does peculiar, interesting lead roles. Does that make sense?

When you step inside a set and transform into a character, it's your first brush with that role. It doesn't matter who you have worked with. Every character will be a first in your life as an artiste.

In most good stories, it is the character's personality that creates the action of the story. If you start with real personality, a real character, then something is bound to happen.

If a character dies, you should feel that. If a character accomplishes something, you should feel that. That's where you try to find that balance. It's impossible to articulate, as you go through it. You just have to recognize it.

David Corbett has combined his unique talents as a gifted writer and an extraordinary teacher to create a superb resource on character development. Deftly crafted and impeccably researched, The Art of Character is a thoughtful and insightful book that is immensely readable and practical.

I pride myself on doing character-driven movies and, when my movies have worked, it's been because of the right casting and the right character, and it just clicks.

If I retire doing the character, I don't think the character has to retire. There will still be caricatures of Elvira. You know, Dracula still works, and he's dead.

I take my time to understand the nuances of a character and prepare for a role, which is why I take time to do films. I work hard on myself to fit the character.

Maybe it's the culture, maybe it's the cliché of Latino machismo, but the Mediterranean male character is more dull than the female character. Women are more surprising and they have fewer prejudices.

Well, you know, what's better? To play a character who stays stuck in the same baggage year after year, or to play a character who gets beyond that and goes to a new level?

Mind is elusive, you cannot hold it in your hand. You cannot force it into a test-tube. The only way to know it is to know it from within, from your witnessing self. The more you become aware, the more you can watch your mind - its subtle functioning. The functioning is tremendously complex and beautiful. Mind is the most complex phenomenon on the earth, the most subtle flowering of consciousness. If you want to really understand what the mind is, then you will have to detach yourself from your mind, and you will have to learn how to be just a witness. That's what meditation is all about.

Plays can create empathy. If you put a Muslim character on stage, and make him a full character, you're making it possible for the audience to feel empathy, and a little empathy on both sides would help.

We live in the golden age of character actors - in an age when actors who have done their time in character roles are frequently asked to carry dark movies and complicated television dramas.

I know I can't make everyone happy, but I know I can do the most justice I can possibly do to a character, or any character, if I put my all into it. That's the choice you have to make.

Geoff Johns is super talented, super smart. Part of what got me excited about the Aquaman character is his re-envisioning of Aquaman, the character, with 'The New 52.'

I suppose people hadn't really thought each decade should have its own character and be different from the others till the 1920s, although I remember in a nineteenth-century Russian novel someone remarked that a character was a typical man of the 1830s - progressive and an atheist.

One particular night I was at the theater. I was not scouting for a project, but I was touched by this play by Évelyne de la Chenelière. I was touched by the character. I thought it was a rich character that could be rich enough for a movie.

Definitely the script because you want to be part of an interesting story, you want your character to be a challenge, then comes the director. But essentially it's the script first and whether it's a character that you think you can do.

When I'm writing music, I'm not playing a character. I'm not Alice Cooper or Gene Simmons or someone like that, who has acknowledged that they are writing music for a character.

The most important thing is to just be good at what you do. You do a good job playing the character, and people will be taken up with your character, not your clothes.

It was great fun to do because of the central character. With The Girl in the Spider's Web, the girl is really the central character. She's the whole thing.

I have a superiority complex I need to get rid of.

I think of myself as a character actor, compared to a straight actor. I know a character actor in England is pretty much the same as in the States; you're actually hired to put on terrible teeth and stuff like that.

There's posh character actors. For God's sake, Olivier was one of the greatest character actors in the world. Hamlet, Shylock, Othello - Othello! Whether you like it or not.

Money alone cannot build character or transform evil into good. It cries for full partnership with leaders of character and good will who value good tools in the creation and enlargement of life for Man.

If you are lucky as an actor, you are doing a character that really matches where you are in life, or you're doing a character that is not where you are. If it's somewhere in between, you have to use a lot of imagination and a lot of thought.

The more you know about the world, the more resources you have in terms of things that can inform your character or the circumstances that surround your character.

I've always enjoyed hiding behind these characters. It's a strange thing, you're more comfortable as a character than you are in life. I could stand up in front of, it doesn't matter how many people, as a character. But if I had to do it as myself and give a speech, I would be liquid.

When it comes to the Alexa Bliss character, everyone says the character has to be an extension of yourself turned up. But I feel like I am the complete opposite of Alexa Bliss.

You have to sort of see the way that the character behaves, and what the character says and does, and claim it in the same way that you claim anything, really.

What can possibly be the common factor in a Kim Jee-woon film? I think what really ties a lot of my projects together is that there is always a character that believes his life is not exactly the way he wishes it to be. My regard for that character turns out to be a very sympathetic one.

Everything I've ever learned about acting - and I went to theater school - was about playing what the character wants and throwing yourself fully into going after what the character wants.

A man's character is the reality of himself; his reputation, the opinion others have formed about him; character resides in him, reputation in other people; that is the substance, this is the shadow.

Invisible Boy was fun. Everybody else's character, they knew where they were at already as a superhero. But invisible boy's character, you kind of grow up with him within the movie.

The nature of an ensemble means when you're a supporting character and not the lead character, you get little tidbits here and there, but you're usually there to provide bits of comic relief and little bits of action or something.

Strength of character and inner fortitude, however, are decisive factors. The confidence of the man in the ranks rests upon a man's strength of character.

When some English moralists write about the importance of having character, they appear to mean only the importance of having a dull character.

A character does seem to have a life of its own, but I have what I'd describe as a very fluid relationship with them - as I'm thinking of what they will be like, they shift in and out of focus - they are a projection of some idea inside of me, even if a character is inspired by an actual person, I'm well aware that it is not that person. My job is to identify the essence of the character, and to bring them to life long enough to commit the acts, say the words or simply "be" in a way that allows them to affect and be affected by other elements and events in the imaginary world of a story.

God is more concerned with our character than with our achievements. Achievements have importance only in the realm of time. Character is eternal. It determines what we will be through eternity.

The hero is changing in Bollywood, and I approach a hero's role like a character by focusing on its weaknesses. I feel the weaknesses of a character make them more alive, relatable, and human.

I approach 'Fast & Furious 6' the same way I would approach a Sidney Lumet film. Getting into character's getting into character.

We live in a complex world and at a challenging time.

The centre of the tragedy, therefore, may be said with equal truth to lie in action issuing from character, or in character issuing in action.

There is the moral spectrum in 'Fargo,' and you see it in other Coen brothers movies, where you have a very good character on one end and a very bad character on the other.

Style for me is some one who figures out who they are. What works on them. What they feel good in and develops that. Develops their character. And the outer expression of their character is what is style.

In any character you are given to play, be it evil/good/whatever character, you begin with self. You examine yourself and ruthlessly see similarities between you and the devil, or between you and the dictator, or between you and the kind man.

I don't feel like you can fully find the true character until you're in his wardrobe, on set, and really getting into the scene. And that's when you really find out who your character is.

In a way, I don't create anything; I just open myself to the character, and the character takes over. Of course, I'm aware of it, and I'm driving it, but I don't try to control it. If I try to control it, it goes wrong.

When you're doing lots and lots of episodes and you're playing the same character, it's great because you really get to know the character and it becomes a really fast style and you find subtleties in it.

People will not follow a leader with moral incongruities for long. Every time you compromise character you compromise leadership. The foundation of firm leadership is character.

Improv is such a huge part of my background, and a huge part of character discovery is really being inside the character and trying to think through them without the limitations of the script.

I loved playing Go Go, because the character's so extreme. And she's pretty close to my real character. Especially the fact that she liked her sword with a lot of accessories.

Physical excellence does not of itself produce a good mind and character: on the other hand, excellence of mind and character will make the best of the physique it is given.

I think television is really incredible because of the fact that you get to sit with a character for so, and the character does something different, every week. I think that's really interesting.

People will have their guesses and opinions on my character, but anyone that's actually sat down and talked to me knows that I don't have any character issues, any off-the-field issues.

I want to keep an element of myself in every character I play. And maybe that's connected to finding something that you like in every character. Maybe they coincide.

Every great player has a big character. I don't know any player with a lot of quality who just has quality - you have to have an ego and character to be the main person on the pitch.

When something arrives, you have no idea what's in it, which is good. And then, it's is the story leaps off the page at you and how your character functions within it. There could be just one scene and if it's wonderful, it doesn't matter how much you're working on it because you just want to be in it. It's really about what your character's day to day world looks like, and if you feel like that's something that's complete, and that you'd like to inhabit for awhile. You'll know by a couple of scenes in. If the character grabs you, you run with it.

And from my character's point-of-view in Ravenous, he had been collected by Robert Carlyle's character, he had become infected by this ravenous, cannibalistic power, and he was making the best of it.

Character is character and voice is voice, which translates nicely from writing novels to writing TV. But the process is different. You have a writer's room, people pitch you jokes and you collaborate.