Top 1200 Dynamic Characters Quotes & Sayings - Page 14

Y'see, I get so bored so easily. I like to start with a clean slate each time. Sure, I'll have characters drop in and out of books but the main cast of characters always changes. Maybe I'm wrong but I think if had the same joe detective guy or gal, I wouldn't write them as well; I wouldn't do as good a job.

I was initially excited about modelling, but soon, I started feeling detached with the job. I wanted dynamic growth in whatever I did.

The Universe is one indivisible, dynamic whole in which energy and matter are so deeply entangled it is impossible to consider them as independent elements.

The fans keep me energized, and being surrounded by such a talented and dynamic 'GameDay' crew is the best medicine for this old coach.

I can remember in the early 60s that there were a couple of really dynamic women performers at the time - Brenda Lee, there was Connie Francis.

The thing with videogame characters is that they tend to be really undercooked, and people don't take the time to really flesh them out. They don't treat them with the respect that a writer writing characters in any other medium would treat their character.

The Who on record were dynamic. Roger Daltrey's delivery allowed vulnerability without weakness; doubt and confusion, but no plea for sympathy.

Online hierarchies are inherently dynamic. The moment someone stops adding value to the community, his influence starts to wane.

I love it when characters surprise you, just like real people. When I write a scene I just try to make the characters behave in a way that feels natural to them. Sometimes that means they make a left turn and do something unexpected. Those are always the best scenes in my opinion.

When I start, I have a feeling for the characters, and maybe the shape of the story. Sometimes I might even have the last sentence in mind. But, no book I've ever written has ever ended the way I thought it would. Characters disappear, others come forward. Once you start writing, everything changes.

The characters that have greys are the more interesting characters. The hero who sometimes crosses the line and the villain who sometimes doesn't are just much more interesting.

It takes years to readjust dynamics and relationships, and to overnight create the new dynamic, I was surprised by how challenging that was for me personally.

The last few years I've had to force myself to go out and be more involved the world because I can get a bit more cerebral and escape into characters and the world of characters. But now I guess I escape into stories about 'Wilfred.

Sometimes, the smaller roles in movies can be the most interesting. If you only take the stance that you'll only play central characters in movies, you'll find yourself not being able to indulge in that morally grey terrain that makes support characters so rich and interesting.

One of the keys is, and it may sound funny, talking about characters with super powers, but one of the keys is to make your characters as realistic and believable as possible. Even if they have super powers, you say to yourself, "Well, if somebody had a super power like this, what would his life be like? Wouldn't he still maybe have to go to the dentist or wouldn't he have to worry about making a living? What about his love life?" You've got to make characters that your reader can believe exists or might exist.

...if you can think of meetings you've attended, you can probably recall a time - plenty of times - when the opinion of the most dynamic or talkative person prevailed to the detriment of all.

Every actor, I don't care what they say, their roles are a lot more interesting than we are, and at the end of the day, it's still entertainment or fantasy. I think we can learn a lot from the characters we play and I find that the characters are even more noble than myself.

For a while, I was feeling like I was always playing characters that weren't specifically Korean or specifically Asian, even - that they were characters who were originally written white, and then they would cast me. And I used to consider that a badge of honor because that meant I had avoided stereotypes.

Margaret Cavendish was one of the people who came up in the course. That was when I started thinking about her as a character for a book, but my idea was for a totally different book. It had all these characters in it; Samuel Pepys was one of the main characters. He famously wrote these extensive diaries through the period that are really funny and sort of saucy, actually.

The great dynamic success of capitalism had given us a powerful weapon in our battle against Communism-money.

'Jurassic Park' was able to get away with big, dynamic filmmaking that might be out of place in another kind of story.

I would love to just continue playing characters that break the mold. I like making interesting decisions when playing characters, so, taking something that would seem one way and then playing it a different way.

I think video village is bullshit. It's like it's a breeding ground for people to nitpick and feel important. It's just such a weird dynamic.

I believe that to create real-seeming characters, the writer must be willing to go on a voyage of self-exploration. It can be revealing and even painful to explore your own weakness, but it gives you genuine emotion. Characters in fiction come alive because of the believability of their emotional lives and that is what I strive to create.

I always notice the dysfunctional dynamic of human relationships because most places where you encounter it, people are trying to pretend it isn't happening.

Part of the core of my system, is a way of trying to give the characters more control. If I'm practicing making up what the characters will do, it's never good. In fact, when I catch myself doing that, I try to get rid of that section, and try and let them start making the decisions.

I write - and read - for the sake of the story... My basic test for any story is: 'Would I want to meet these characters and observe these events in real life? Is this story an experience worth living through for its own sake? Is the pleasure of contemplating these characters an end itself?

We've had the good fortune of performing to live music a few times in our career and it always creates a different dynamic.

Disease is a dynamic process. It has a beginning - slow or sudden - develops, reaches in many cases an acme, and ends in recovery or death.

I get to play characters that kind of shock people and I enjoy doing that. I like characters that have meaning and get people in the heart. I want to be able to get people to cry or make people angry or sad.

I understand what the dynamic of the brand Ed Gordon has been all these years. I'm just trying to keep that as real and as honest as I can and I don't take it lightly.

I feel all things as dynamic events, being, changing, and interacting with each other in space and time even as I photograph them.

If you go back to the '80s, I didn't really know much about the characters. I knew what they did in the ring. I knew Hogan went off and spouted lots of crazy promos, and Ultimate Warrior did the same. They really were just characters.

We will continue to offer the most dynamic vehicles in the future. However, we have also made it our mission to be sustainable as a company.

Education, or enrichment, is a dynamic, evolving, lifelong process. Every time you look, sensitively with awareness, your vision grows.

There's something very, very liberating about Harley Quinn. Much more so than a character like Catwoman or Poison Ivy. Those are great characters. But then again, those characters are more of the femme fatale and the temptress roles.

It is the genus that gives the characters, and not the characters that make the genus.

I don't use recurring characters. I do get very interested my characters while I'm working with them, and I find the process of fitting them into a story, and allowing them to create the story around themselves, fascinating. But no, I don't imagine they have a life outside of what I make for them.

One of my favorite experiences in my career, certainly one of the most interesting characters I've ever played, was Simon Lee on 'The Event.' That was a show I was quite proud of and a character I really enjoyed playing. It was one of the most three-dimensional characters that was ever written for me and that I'd ever gotten to play.

Where would David Copperfield be if Dickens had gone to writing classes? Probably about seventy minor characters short, is where. (Did you know that Dickens is estimated to have invented thirteen thousand characters? Thirteen thousand! The population of a small town!)

Death and resurrection are what the story is about and had we but eyes to see it, this has been hinted on every page, met us, in some disguise, at every turn, and even been muttered in conversations between such minor characters (if they are minor characters) as the vegetables.

I think I'm a part of all the characters I play, definitely at different times in my life. In real life, I'm kind of a tomboy. I like to read a lot I like watching T.V. I don't think I'm as interesting as my characters, but I like doing what I do.

As crime writers, we put these characters, year after year, book after book, through the most horrendous trauma, dealing with grief and death and loss and violence. We can't pretend that these things don't affect these characters; they have to. If they don't, then you're essentially writing cartoons.

You love all your characters, even the ridiculous ones. You have to on some level; they're your weird creations in some kind of way. I don't even know how you approach the process of conceiving the characters if in a sense you hated them. It's just absurd.

I actually don't know much about Jaclyn Moriarty's process or where her stories come from or who inspired her characters. I just know that reading her books feels like sitting with friends. Her characters feel alive.

Writers write because they cannot allow the characters that inhabit them to suffocate them. These characters want to get out, to breathe fresh air and partake of the wine of friendship; were they to remain locked in, they would forcibly break down the walls. It is they who force the writer to tell their stories.

Houston is a dynamic, international city shaped by leaders who dreamed big and acted with an eye firmly focused on the long term.

I got into comics on John Byrne's run of the X-Men and the Dark Phoenix Saga. I got in around X-Men 95, right when it turned to the new X-Men. So that whole family, all those characters are kind of my favorite characters, just the X-Men world.

There are very few works of fiction that take you inside the heads of all characters. I tell my writing students that one of the most important questions to ask yourself when you begin writing a story is this: Whose story is it? You need to make a commitment to one or perhaps a few characters.

Today the vacuum [of space] is not regarded as empty. It is a sea of dynamic energy, like the spray of foam near a turbulent waterfall.

What I thought would be fun would be Squirrel Girl being this computer science student, working in STEM, because you don't see a lot of characters there, never mind female characters. Also, I studied computer science, so it's not too hard to write.

The last few years I've had to force myself to go out and be more involved the world because I can get a bit more cerebral and escape into characters and the world of characters. But now I guess I escape into stories about 'Wilfred.'

Black women's intersectional experiences of racism and sexism have been a central but forgotten dynamic in the unfolding of feminist and antiracist agendas.

There must always be a discrepncy between concepts and reality, because the former are static and discontinuous while the latter is dynamic and flowing

It's difficult to learn to play these different disabled characters - Campbell in 'Switched At Birth' was paralysed from the waist down - but it's nice to be able to step into their world and live in these characters' shoes and to be able to play them, because it gives you a different look at life.

The first thing, when I read the script, is that I need to care about what happens and feel compelled by the story and engaged by the characters. It needs to resonate with me, even if what the characters are going through is not something that I have experienced in my life. I have to feel like it has some sort of meaning to me.

I believe we're entering a new era, where dynamic female leaders will have an opportunity to bring greater harmony and peace to the planet.

In making Achilles and Patroclus lovers, I wasn't trying to speak for all gay men, just as when I write straight characters, I don't claim to speak for all straight people. My job as an author is to give voice to these very particular characters - these two men, in this time, and in this place

Werdum's open to being knocked out in any fight because he's so reckless, but that's also what makes him so damn dynamic.

The tree or the road - the ones I know of, finally they are the only characters I know really. The human characters I don't know. So there is both something I know and something I don't know. And I put them together.