Top 1200 Dynamic Characters Quotes & Sayings - Page 19

While at The Evergreen State College, I met Doranne Crable, and she was so dynamic and adventurous that I decided on the spot to take whatever she taught.

The world is complex, dynamic, multidimensiona l; the paper is static, flat. How are we to represent the rich visual world of experience and measurement on mere flatland?

What's interesting about the 'Smash Bros.' games, is that the 'Smash Bros.' games do not represent the Nintendo characters fighting against one another: they actually represent toys of Nintendo characters getting into an imaginary battle amongst themselves.

The area of teenage life is not necessarily rarefied; we've all gone through that period. It's not as rarefied as a western or a space adventure or a gangster film, but it has its own dynamic.

I didn't want to do eight seasons of How To Build A Fire. The intention was to make something fun and dynamic and about self rescue, not about whittling.

All my work is partly biographical. I mean, 'Crash' was absolutely that, absolutely. But you just wouldn't recognize me in most of those characters. But I was in every single one of those characters in 'Crash,' because those were all fears that I had felt. Things that I had thought in my deepest, darkest heart.

Utopia is the process of making a better world, the name for one path history can take, a dynamic, tumultuous, agonizing process, with no end. Struggle forever.

You have to always try to think about them like real people first, and not just heroes. They have to be real characters. As people do more and more superhero stuff, the characters are what distinguish it, just like in cop shows.

Sometimes, when actors reach out to their characters, they're nowhere in sight. They need to find something inside of them. And then the characters are right there. As a director, I want them to find the character that's already inside them, instead of trying to manufacture or manipulate or make something up. That's not really honest or true.

My sister and I, fortunately, have been in this business for a very long time. Ever since we were 11. Throughout those years, people have always wanted to know our dynamic.

I make static art, not dynamic art. That's what I do.

Characters work really well when they're reflective of the times that they're operating in. To keep these characters static - like Superman was invented in the '30s, Wonder Woman in the '40s - if they were still operating under those kinds of constraints, they'd die. These pop cultures, just like Greek myths, they have to reflect the time their stories are being told. That's what makes them relevant.

Unfortunately, considering that we Latinos are really big for movie companies when they have blockbuster releases or new cable shows, when it comes to the dynamic of supporting our own product, it leaves much to be desired.

I had my boundaries and restrictions of doing films so I stopped working in the eighties. This was an era when films were more action oriented. Most of the characters cast in the pivotal roles were either daakus or police inspectors. My face suits neither of these characters. I cannot look like a daaku, so acting had taken a back seat.

It's easy to feel like you don't have any control over yourself or your life or your body as a teen - everything is changing so fast, and a lot of it feels so outside of your power. I think that's why a lot of teens form really strong attachments to fictional characters or celebrities, draw their own characters or write themselves into fan fiction.

The digital world has power because it has dynamic information, but it's important that we stay human instead of being another machine sitting in front of a machine.

While filming 'The Matrix,' we studied how a Chinese fight-choreography team trains actors before production starts so that they can participate in action sequences in a more dynamic way.

I am honored to join the Under Armour Board, and look forward to seeing how a founder and CEO operates a dynamic and fast-growing company known for innovation and its competitive edge.

The random quantum fluctuations of my brain are historical accidents that happen to have decided that the concepts of dynamic scoping and lexical scoping are orthogonal and should remain that way.

Any plot you impose on your characters will be onomatopoetic: PLOT. I say don't worry about plot. Worry about the characters. Let what they say or do reveal who they are, and be involved in their lives, and keep asking yourself, Now what happens? The development of relationship creates plot.

The most satisfied and enlightened people realize that successful and dynamic living starts from within. Before you can care for others, you must care for yourself.

It's a complicated dynamic sometimes, mothers and daughters. There's this thing of, like, 'This is a model of womanhood for you,' but yet we find so many reasons why we don't want to be like our mother.

The main characters for 'The Seer and the Sword' made an appearance one night and then haunted me for over five years before I began to write them down. Does that count as inspiration? For me, characters tend to show up, stay on to help with the work of writing their stories, and then occasionally deign to visit after a book is finished.

Sometimes as writers, we try and put narrative development above character development. We try to move our characters around like chess pieces that do our bidding. The problem with that is sometimes the characters do things they shouldn't do. Things that are inorganic.

In the second season, usually television shows are running with the characters; they really get them. And then, the third season, they can push characters and really explore secondary storylines and things like that. And so I tend to like third seasons of most shows.

Mostly the natural landscapes work as a sounding board for my characters, so they can understand themselves, and it acts as a mirror in which we readers see ourselves. The natural world is the place into which all my characters have to situate themselves in order to be who they really are, and that makes my rural fiction feel different from a lot of urban fiction.

The highest things, the things that really matter, we cannot achieve on our own; we have to accept them as gifts and enter in to the dynamic of the gift, so to speak.

Dynamic change is always my favorite thing. As soon as I feel like I'm doing all of the same stuff over and over again, I'm bored and sad.

I've made the decision to adhere to three general truths when it comes to my novels: There will be a love-story element to the story, the novel will be set in eastern North Carolina, and the characters will be likeable. Then, I make each novel unique through differences in voice, perspective, age and personalities of the characters, and of course, plot.

When we resist change, it’s called suffering. But when we can completely let go and not struggle against it, when we can embrace the groundlessness of our situation and relax into it’s dynamic quality, that’s called enlightenment

Nutrition is an exciting, dynamic field - there are more than 10,000 articles published on human nutrition in medical journals every year.

Constructions of a-rhythmical forms, the clash between concrete and abstract forms... ...The acute angle is passionate and dynamic, expressing will and a penetrating force.

If I go to Germany, I learn something in addition. The German television is very precise and respectable. One has never stress. In Italy it is more dynamic. But I amuse myself madly in both countries.

Even if I died in the service of the nation, I would be proud of it. Every drop of my blood... will contribute to the growth of this nation and to make it strong and dynamic.

There's really not much in life that's as violent or traumatic as an encounter with somebody who really surprises you and opens up that strange dynamic that's involved in romantic love.

My first two books, I was very close to my main character, stuck inside their head. And then with 'Arrogance,' I broke into many different voices. I introduce many different characters, and that helped me to develop a confidence to move between different characters, between different voices.

Growth is exciting; growth is dynamic and alarming.

The young and dynamic and idealistic people in the square do not have the chance to organise themselves politically, to be able to follow through their dreams in six months time, to play an effective role in the future.

People do tell a writer things that they don't tell others. I don't know why, unless it is that having read one or two of his books they feel on peculiarly intimate terms with him; or it may be that they dramatize themselves and, seeing themselves as it were as characters in a novel, are ready to be as open with him as they imagine the characters of his invention are.

I've seen 'Goodfellas' a hundred times, and one of the things that I take away from that movie is dynamic pacing and energy. I just think that film is sort of a paragon of excellence in filmmaking and the compression of narrative.

When I decided to write a novel about Istanbul, I thought I should put the different faces of Istanbul into one book. I also put the characters in a cell, and it's three stories underground, rather than on the surface. The characters have one Istanbul, the other one is above ground. One is in dark, one is in light. That kind of contradiction - those opposite sides - creates a great energy in Istanbul.

We believe that this time of transition will make for a more dynamic Revolution Church, and will help us focus and expand our scope and mission.

It makes it very easy. I have a beginning, middle, and end, and I don't film for long - about 20 hours usually for a two-hour film - so it's easily watchable in a week for me and the editor. Once I know who the characters are, I only film those characters, unless somebody else forces their way into the film by a scene happening to them or we meet them by chance.

The representation of gay characters on screen is important for us all to think about because there are sadly too few representations of gay characters on screen in mainstream cinema. If Marvel starts making movies about gay superheroes, then we'll be in a really great place. We're not at that place.

People say that they like the characters that they believe that I am. But, I don't as much. I like the characters that I believe that I am not. Like my role on 'Law and Order.' That character unnerved people. And I loved every second of it. I want to continue growing as an actress. There are ways that I can reach quicker, or deeper, with acting.

People, you know, had trouble with the character. Mindy is not immediately likeable. She does and says a lot of things that you don't see in, forget female characters, any characters. Like, she says things like, "I'm going to hell because I don't really care about the environment and I love to gossip."

Dynamic typing is not necessarily good. You get static errors at run time, which you really should be able to catch at compile time.

Historically and phenomenologically viewed, dance is the original art. All arts are found within it, in its undivided unity. The image, made dynamic through movement and countermovement, sings and speaks simultaneously.

I once had an editor advise me, as I was revising one of my early novels, to add more characters. I played around with the idea. As soon as I'd decided a few fresh faces and give them something to do, I realized that what my editor had really asked for was more plot. Ding. More characters equals more action.

Although my stories are all very different on the surface, I like to write stories about characters struggling with big problems. I'm always reminded, no matter how different from me one of my characters is from me on the surface, how we're all pretty much the same underneath.

My favorite part about working in theater is the rehearsal process. I absolutely love the rehearsal process. Working out the characters, figuring the character out, and the relationships between the different characters. I love all of that, which, unfortunately in film, you get very little opportunity to have.

The dynamic of how women and men are meant to interact, for those of us who are looking for a heterosexual relationship, is very broken, and it leads to a lot of really dysfunctional relationships, abusive and otherwise.

[Islam] is the dynamic conviction that a person's spiritual and worldly responsibilities are one and the same, that an individuals duty to the community is indistinguishable from his or her duty to God.

The nearer a conception comes towards finality, the nearer does the dynamic relation, out of which this concept has arisen, draw to a close. To know is to lose.

I approach writing female characters the same why I approach writing male characters. I never think I'm writing about women, I think I'm writing about one woman, one person. And I try to imagine what she is like, and endow her with a lot of my own thoughts and history.

I hear so many writers say - and these are writers that I trust completely - 'I just started hearing a voice', or, 'The characters came to life'. I am filled with loathing for my own characters when I hear that because they do nothing of the sort. Left to their own devices, they do nothing but drink coffee and complain about their lives.

The script in many ways is limiting and novel is liberating. You get to go into the heads of your characters and their background and have fun with them; something you are discouraged from doing with a script. With the novel, I can tell you what the characters are thinking, I can tell you their view of the world, background information, things I wouldn't dare touch in the script.

I feel like, for so many years in the industry, LGBT-identifying actors were told to play small or water themselves down or 'butch it up,' whether you're a male and you're only going out for straight characters because gay characters aren't being written, or you're a woman and you're told to 'femme it up' to play the leading lady role.

Monopolies are bad and deserve their reputation when things are static and the monopolies function as toll collectors... But I think they're quite positive when they're dynamic and do something new.

I have played several characters that are crabby and cranky. I don't know if I'm just not a very well-developed human being or if I don't know myself very well, but I tend to find I can take on elements of the characters that I'm playing. When I was playing a character like Becky Freeley in Miss Guided found that I was insanely positive and happy all the time.