Top 1200 Dynamic Characters Quotes & Sayings

The geometry of landscape and situation seems to create its own systems of time, the sense of a dynamic element which is cinematizing the events of the canvas, translating a posture or ceremony into dynamic terms. The greatest movie of the 20th century is the Mona Lisa, just as the greatest novel is Gray's Anatomy.

The great thing was that as soon as Aidan and I met we clicked, we instantly knew we were going to get along and the more time we spend together, the more we’ve developed a brotherly bond that’s helped us figure out the dynamic of our characters.

My job, and what I've taken such joy in, is the craft of acting and of creating dynamic and authentic characters, and then finding a way to build them within the confines and with the support of the worlds that I've found myself.

the self-assertive tendency is the dynamic expression of the holon's wholeness, the integrative tendency, the dynamic expression of its partness.

I think in our global economy, uncertainty is ever increasing. So to accommodate to that, we need to build a dynamic economy and dynamic rules that can adapt to changing circumstances.

What I like and find liberating in dialogue comedy is that the characters, and what they say, are not me. These are fleeting thoughts and observations and not presented as truths but as something that illuminates the character and the dynamic between the characters. This kind of dialogue is thesis and antithesis - and we never get to a synthesis.

The classical guitar has a dynamic to it unlike a regular acoustic guitar or an electric guitar. You know, there's times when you should play and there's times when you gotta hold back. It's an extremely dynamic instrument.

That's the amazing thing about our jobs; it's constantly changing, and it's extremely dynamic, and you, therefore, have to be dynamic as well.

I think it's definitely beneficial for these characters to have good acting voices behind them and it affects the characters in a way that people can feel like they're part of the game and that they know these characters.

For an author, the nice characters aren't much fun. What you want are the screwed up characters. You know, the characters that are constantly wondering if what they are doing is the right thing, characters that are not only screwed up but are self-tapping screws. They're doing it for themselves.

I would love for people to think that I am as quick, clever, smart and heroic as the characters that I write, but those characters are characters.

I've been astounded to discover how good to their teams and crew that Marvel are. They're so collaborative, so smart with their stories. They have rich, dynamic characters which are so much fun to play.

It's really quite an interesting dynamic. I wanted to play to the truth of who Manute was in the first film, while it's also a prequel and the originator [of the story]. It was an interesting dynamic to work with, definitely. I haven't seen the film yet, but the way it felt when I was doing it, it felt like it worked.

It's funny what [producer Richard Zanuck said about even though you can't quite place when the book or the story came into your life, and I do vaguely remember roughly five years old reading versions of Alice in Wonderland, but the thing is the characters. You always know the characters. Everyone knows the characters and they're very well-defined characters, which I always thought was fascinating. Most people who haven't read the book definitely know the characters and reference them.

The idea of the gay experience, it feels like a relic. I felt like in the '90s when we were watching the gay characters on 'The Real World,' there was definitely a gay experience that was distinct from a straight experience. If you talk to high schoolers in 2017, I don't know that is as much a part of how they experience a social dynamic.

I'm an actor. I have to play weird characters, quirky characters, strange characters, sometimes characters I don't understand.

All that matters to me as a reader are characters. I want characters to be real, authentic, and rounded. I will be digging into characters for at least a month. Who they are. What they are like. Outside of the story.

I'm always trying to get my characters to the point of complete rebelliousness. I like that attitude that characters feel when they own their lives. There's something beautiful in the moments when characters disobey.

Part of the success of the show is that the audience sees themselves in the characters, becomes the characters. The more they inhabit the characters, the more they see

To see those two characters [Steve Jobs and Andy Hertzfeld ] juxtaposed against each other shows an interesting dynamic of how gifted people might function differently in the world.

The best defense against a powerful and positive dynamic ideology is neither verbal attack nor criticism, which are useful, but to set up an equally powerful and dynamic ideology against it.

My experience is at The Groundlings Theater, where we created different characters and did sketch comedy. And sometimes the characters were outrageous, but they always came from a real place. So even working there, we had to create characters from the people that we knew.

It's a great dynamic. The dynamic between men and women in the workplace is really interesting.

It's so important to create roles and characters and projects that feature black people in a way that's not specifically targeted toward the niche market, which is, like, a black movie is created and it's produced and pitched so that only black people will watch it ... I want to see dynamic characters and roles that everyone wants to watch.

Carrying a thought with dynamic will power means holding it until that thought pattern develops dynamic force. When a thought is made dynamic by will force, it can manifest according to the mental blueprint you have created.

Even while I'm really interested in playing female characters that are varied and interesting and dynamic, I'm not of the mind that you always want to play strong female characters. I think I just want to play characters that are interesting, and not all people are 'strong.'

To be honest, I don't think of any of my characters as minor characters - they're all the main characters in a story that I don't necessarily get to tell.

In the pre-production process, I am emailing with the actors or jumping on the phone, and we're sort of figuring out who the characters are and trying to build the relationship dynamic and things like that. Then, also, I am outlining.

I think all writers are always collecting characters as we go along. Not just characters of course, we're collecting EVERYTHING. Bits and pieces of story. An interesting dynamic between people. A theme. A great character back story. A cool occupation. The look of someone's eyes. A burning ambition. Hundreds of thousands of bits of flotsam and jetsam that we stick in the back of our minds like the shelves full of buttons and ribbons and fabrics and threads and beads in a costumer's shop.

I'm grateful that so many viewers have related to characters I've played. I think many in the audience see themselves in my characters or feel like the characters are similar to their friends or sisters.

Nowadays the dynamic element is more important in chess - players more often sacrifice material to obtain dynamic compensation.

My characters tend to be more dynamic because they're reaching that point in their lives where their old way of being is breaking down. They're conflicted by the idea that they don't know what's next. You could call it Kierkegaard's leap of faith, when you get tired of sort of reinventing yourself on a very superficial level.

With 'Red Sonja', it's a single character leading a book although there's a supporting cast, whereas 'Secret Six' is basically six characters who have equal time and equal place in the book, so it's got a team dynamic that 'Red Sonja' doesn't have.

I can talk endlessly about characters, or why someone did this or that, and what that dynamic and interaction is. I really love it, and I think that actors really respond positively to the fact that I like to talk about that stuff, because I'm not sure that all directors do.

I'm portraying out characters, I'm portraying femme characters, characters that are really outside of the box. I never thought I would get that opportunity to portray those characters at all, much less have a career that I have.

Part of the success of the show is that the audience sees themselves in the characters, becomes the characters. The more they inhabit the characters, the more they see.

There's a kind of dynamic quality about theater and that dynamic quality expresses itself in relation to, first of all, the environment in which it's being staged; then the audience, the nature of the audience, the quality of the audience.

I had played many gay characters before, but they were finite - guest characters in TV shows or characters in plays.

I am certainly proud to add 'Korra' to the pantheon of TV characters, which is perpetually sorely lacking in multifaceted female characters who aren't sidekicks, subordinates or mere trophies for male characters.

The nature of acting is that one is many characters and jumps from one skin to another as a way of life. Sometimes it's hard to know exactly what all of your characters think at the same time. Sometimes one of my characters overrules one of my other characters. I'm trying to get them all to harmonize. It's a hell of a job. It's like driving a coach.

Usually, I like to play sophisticated-looking characters. I want to do 'Godfather'-like characters. Given my voice and style, such characters will be apt for me.

What interests Sam Mendes are characters and relationships, and he was a genius at giving you the freedom to create the type of character you want, and also to explore and have fun with your fellow actors. For him, characters and relationships are really the heartbeat of the film, and then the action is the backdrop. By developing the characters, he makes you care that much more about the action and going on a journey with the characters.

The funniest things just come from honesty. We have a tendency to see female characters as representative of something larger than what they are, when male characters are just characters.

As each individual is electrically alive and dynamic, so yoga is a living, dynamic force in life. In order to savor its essence, one needs a religiously attentive dynamic practice done with awareness and absorption.

I'm most concerned with committing to characters that contribute to more complex, modern and dynamic Asian-American representation on screen.

I wanted to explore Korean-American characters. And 'Columbus' did address that. The father-son dynamic felt very real to me.

The fact of the matter is, this is a very dynamic economy we have, and in this dynamic economy, you have a lot of job gains, but you also have job loss.

People like stories that are bigger than life, about characters with unusual powers. And when you get all the characters in the zodiac, it's so colorful, and it's so rich in different attitudes that the characters have.

It can sometimes make people fold into themselves and kind of run away, but I think in this case these characters are being forced to face issues and emotions, feelings, that they have. So it kind of forces them to face it head on, which I think is a really interesting dynamic. And I think it should be interesting and probably a good thing for the relationship.

At the end of the day, it's really, really difficult to make a brand-new show, to write a pilot where you have to introduce characters and everyone has to kind of be dynamic and have something different for themselves.

'Orphan Black' allows for people to have debates and theories and allegiances to different characters - to trust characters and hate other characters - but it doesn't tell you who is good or bad or right or wrong. That's the most exciting storytelling, in my book.

When I married Marjorie, along with her, I got this very large family and a bunch of family friends. It's a dynamic I've never been around. I've always been kind of a loner, and my attempts at domestic life failed miserably. So the family dynamic is a great thing.

Increasingly I think of myself as some strange and solitary conductor, introduced to a group of very dynamic musicians who happen to be my characters, and I have no idea how they are going to play together, and I have certainly no idea how I am going to put manners on them.

The most important thing in imaging for me is the dynamic range. The dynamic range means the tones that you can capture from highlights to dark and the bits, the depth of color that you can capture.

'Orphan Black' allows for people to have debates and theories and allegiances to different characters; to trust characters and hate other characters, but it doesn't tell you who is good or bad or right or wrong. That's the most exciting storytelling in my book.

'The L-Word' was such a great show because of the amazing writing and characters, but maybe because it was such a new concept, people couldn't pick up on it, but I think it was down to the dynamic characters and how well done it was.

I'm terribly particular about what I read: lush writing, secondary world or seriously far-out science fiction, strong worldbuilding, dynamic characters. I need to have it all for it to work for me.

The most interesting thing to me is that 'The Walking Dead' is a show that reinvents itself every eight episodes. It's an evolving landscape. There are characters that die. There are characters that stay on. There are characters that go away. I love that.

And we [The Futurist artists] must invent dynamic designs to go with them and express them in equally dynamic shapes: triangles, cones, spirals, ellipses, circles, etc.

If you're reading a book that I've written in the first person, without named characters, you will periodically perhaps as a reader remind yourself: Well, this is or isn't the author. This is a character.I think the second person turns that dynamic onto you, or situates it within you: This isn't really me, but what aspect of the character is really me? That creates a loop of seduction.