Top 1200 Dynamic Characters Quotes & Sayings - Page 10

All of the actors that have served to me as inspiration over the years have been those more associated with dramatic work who have, in turn, been able to embody their characters and lose themselves in those characters that they create.

I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are.

I suppose it's possible that a writer would have feeling for his characters, but I can't see how, because writing is such a meticulous, intricate, technical business. I wish I could say that I love my characters and that frequently they take over the book and run away with the plot and so on. But they don't exist.

I usually always think of characters and sometimes the characters are a little bit invented, so it's nice to give these invented, blurry, personas an actually name. It makes me get closer to them or something like that. But they're not all real, they're weird amalgamations of reality.

I tend to use a lot of movement in both camera and characters, and I also tend to give characters a lot to physically do.

There are times that you have a plot in your head, but then you find that the characters don't want to do that. When you're looking at the story from the outside, you can create whatever twists and turns you want. But when you're writing, you're inside the characters' heads, and you see that they may be motivated to do something different.

There are dodgy characters in Bitcoin. But there are dodgy characters in cash, too.

Creating characters is like throwing together ingredients for a recipe. I take characteristics I like and dislike in real people I know, or know of, and use them to embellish and define characters.

Women are super-dynamic. I can be whatever I want to be. I can have interests in so many different kinds of things.

I was a big Hart Foundation guy as a kid. Bret was my favorite wrestler. I loved their dynamic.

There's something extremely rewarding about following characters that you like and knowing that there's as many hours of viewing as you have the appetite for. You can tell more complex stories; you can create more complex characters in the longer form.

When I'm writing a novel, one of the things I do is get big poster boards. They're actually canvases that artists use. And I keep all the characters' names on them. If you write a big novel, there's a lot of characters.

New Jersey for me is so alive with history. It's old, dynamic, African-American, Latino.

The best kind of design isn't necessarily an object, a space, or a structure: it's a process- dynamic and adaptable.

We are living in a dynamic age with multiple ideas and beliefs of correctness; this world is not deterministic and not still.

The secret at the heart of 'The Memory Keeper's Daughter' is something everybody, except for some of the characters, knows in Chapter 1. Some of the narrative tension comes from that distance between what the readers know and what the characters know.

I really enjoy writing about female friendship. It's an endlessly interesting dynamic for me.

It's not a matter of maintaining the status quo. We have to create a dynamic state, oriented towards expansion.

The elements of life are dynamic patterns of mass and energy, events rather than objects.

One never knows enough about characters in real life to put them into novels. One gets started and then, suddenly, one can not remember what toothpaste they use; what are their views on interior decoration, and one is stuck utterly. No, major characters emerge; minor ones may be photographed.

Characters with no integrity are just as interesting as characters with lots of integrity.

When we have a good work dynamic we don't need to ask too many questions of each other.

Characters are incredibly important, but I tend to build them around the plot during the outline stage. However, once I'm writing the manuscript, the characters I'm writing dictate how the plot unfolds.

I don't consider myself a competition to anyone. There is ample space for everyone here. When there are directors who create characters for me, why should I feel bothered or insecure? When it comes to updating myself, I work very hard to relate to the emotions of characters I play.

I do not choose characters because I think, 'Wow, that woman is so strong.' I chose these characters with utmost conviction because I think they were realistic enough to exist, and I really liked the scripts.

One of the things that I like about 'Narcos' is that not only Pablo but with all the characters - this is not a black and white show. This is not a regular American cop show where two cool cops go to save a country from a bad guy. All the characters are very complex.

One of the things when you write, well the way I write, is that you are writing your scenario and there are different roads that become available that the characters could go down. Screenwriters will have a habit of putting road blocks up against some of those roads because basically they can't afford to have their characters go down there because they think they are writing a movie or trying to sell a script or something like that. I have never put that kind of imposition on my characters. Wherever they go I follow.

I couldn't function if I weren't allowed to stretch and do really different characters where I can change the whole "beingness" of that person. That's my pleasure in acting and has been since I was a kid. That's always been my pleasure to create complete characters.

I like the idea of a TV show. You take time to get to know your characters. You can introduce a lot of characters. You don't need your three-action set pieces that you usually need for movies.

Jonah Peretti is one of the smartest web publishers out there. And Buzzfeed is an aggressive and dynamic company.

I think you have to love the characters that you write. I don't know how you could possibly write a TV show where you didn't love the characters.

When I realised that what I do really well is play women who are tough and vulnerable, it was a moment of clarity. Many female characters either have one trait or the other, but I play both. I don't need to play characters who are like me. I can just do that with my life.

We must confront the world now with an ethics to make it tremble, and with a dynamic to give it hope

If you're looking at my other major science fiction roles - the Doctor on 'Star Trek' and certainly Woolsey on 'Stargate' - I often play characters that might be good theorists and good thinkers, but you wouldn't call either of them very macho characters.

Well, that's the great thing about indie film, in general. If it's not subject to the constraints of too much pressure from the studio or marketing, and all of that, you get to actually present fuller characters and you get to have the dark side of the characters. That's usually what gets cut out.

The regime of globalization promotes an unfettered marketplace as the dynamic instrument organizing international relations.

All fiction is about people, unless it's about rabbits pretending to be people. It's all essentially characters in action, which means characters moving through time and changes taking place, and that's what we call 'the plot'.

I think people are getting into these 'Empire' songs because of the emotional investment they have in the characters. You kind of feel like you know the songs already because you just watched them play out in front of you with these characters.

There's this incredibly young, dynamic, educated population in Iran that is essentially pretty pro-American.

I really enjoy those characters like 'Profit.' With those elements that are shady and dark, you're not responsible for being a likable character. Like some of Jack Nicholson's characters, you remember them for so long.

To survive in the future, we will need our economy to be dynamic, entrepreneurial, innovative and flexible.

The one man in the room who was as big as his poems, huge, with hulk and dynamic chunks of words.

One problem with ideas, however valid, is that they are static and impersonal, whereas a person is active and dynamic.

I live intimately with my characters before starting a book. I cut out pictures of them for my wall. I do time lines for each major character and a time line for the entire novel: What is going on in the world as my characters struggle with their problems?

Your characters are always your children. And while you are writing, you're keeping them safe. Now they're ready to go into the world and it's sad. I'm happy with the way the novel came out but all the characters' ending really saddened me.

While I've written in the POV (point of view) of adolescent characters before... I never have had to create novels in which those characters not only drive the plot, but also are instrumental in resolving whatever issue the plot deals with.

I don't really pity any of my characters. I hold my characters under a harsh fluorescent lamp and ask "Who are you?" I'm not doing their makeup or giving them hairdos. They present themselves to me as they are and then I let them say what they want. Usually they're saying something too honest.

Vow to be valiant. Resolve to be radiant. Determine to be dynamic. Strive to be sincere. Aspire to be attuned.

A lot of people know who I am before I've met them, which is a weird dynamic.

I always found growing up that, even inspiring female characters or complex female characters in TV and film... I often found that their complexity was actually just another facet of their sexuality.

I'm aware that a lot of what is happening in jazz has not had a very dynamic change in a long time.

When I saw 'subUrbia' on stage, I started having those feelings inside me. I saw it as a film, and I felt I knew the characters, or I was the characters. It really dredged up all this stuff in me that never went away.

I'm just trying to write a good story, strictly from imagination. People just think it's random, they don't see the rewriting, phrasing of characters, choosing the words, bringing the world to light in which the characters live in. That creates an illusion that this is real.

I've met so many fans of daytime television who've watched the shows with their moms and grandmas and feel like they've known the characters their whole lives. It's sad for them to have to say goodbye to their favorite soaps and characters. We don't want that to happen to the 'Days' fans.

Foursquare's adoption of a game dynamic when it launched is a particularly clever implementation of a social hook.

A lot of readers want characters to behave in a responsible way, or they want to understand the characters' dilemma and act, in a way, on their behalf.

Frank Sobotka in 'The Wire' on HBO was one of the greatest characters I've ever played. They cut his throat at the end of that season. There's something about creative coupling that seems to go with great characters, and the fact that you can never play them again once you're done.

Our system is dynamic, always shifting gears. What I do is I build models to beat the market.

The characters are whole, real people to me that I'm getting to know, and since real people are all flawed, so are my characters, I hope.

Painting, for me, is a dynamic balance and wholeness of life; it is mysterious and transcending, yet solid and real.