Top 1200 Dynamic Characters Quotes & Sayings - Page 4

What I think is wonderful is that women are not just avengers or victims in films. They are people. They are characters. It's so refreshing. They're playing different kinds of characters, and they aren't being typecast.

I wanted to create characters who could do fantastic things but who weren't exactly superheros - characters who exist on sort of a spectrum from super-ability to disability.

I don't know whether it's audiences or filmmakers who want characters to be likable today, but I don't think actors are afraid of their characters being unlikable.

I always tell my students to complicate your characters: never make it easy for the reader. Nobody is ever one thing. That's what makes characters compelling.

You try to make characters you care about, and I think realism helps. Even though this is a high concept, the characters have got to be real.

I'm drawn to female characters; not all of them are strong characters.

With any period piece I think the thing to do is forget that it's not contemporary when you're writing and to have the characters feel as much as possible like characters that you would know.

After the complex characters in 'Mayaanadhi' and 'Varathan,' my characters in 'Vijay Superum Pournamiyum' and 'Argentina Fans Kaattoorkkadavu' were bubbly ones.

I look forward to playing characters where I want to play the ordinary, to be honest... Farmer's wife, tailor's daughter, the teacher characters that exist for real emotions.

We generally pretend to be something to survive in a society. So the characters I play, I want them to be wholesome characters. They are not necessarily the most wise people, but they do have a heart and soul.

I mean, at the end of the day we're still telling stories and so we're just trying to stay focused on characters that we love and we've loved characters in all of our movies.

I wanted to create a game (EarthBound) with real characters; characters whom players would recognize in the people around them.

All the people in Star Trek will always be known as those characters. And what characters to have attached to your name in life! The show is such a phenomenon all over the world.

I see this with experienced writers, too: They worry so much about the plot that they lose sight of the characters. They lose sight of why they are telling the story. They don't let the characters actually speak. Characters will start to dictate the story in sometimes surprising, emotional, and funny ways. If the writers are not open to those surprises, they're going to strangle the life, spark, or spirit out of their work.

But actually making pictures to look like my pictures, I've done it for so long, I'm kind of used to it now. So at the beginning of the process, designing and storyboarding everything, I sort of did all that. And then designed the characters, and doing the textures for the characters, and the texture maps to cover all the animated characters and the sets, I did those, because that's where my sort of coloring and textures get imprinted on the film.

There are so few shows that are willing to take risks with their characters in the way that 'Homeland' does. And yet, the audience still comes back and loves those characters.

I try to make my characters kind of ordinary, somebody that anybody could be. Because we've all had loves, perhaps love and loss, people can relate to my characters.

The truth is these characters [of Batman story] evolve, and there's a lot of hands in the supporting of these characters. It's great when everybody can know where everything came from. It's important for the legacy of them.

There are twenty-four characters in this book named Max. Let there be an end to this silly business of authors never giving their own names to characters in their novels. False modesty, faugh!

I love playing characters that are bigger than life and maybe have a darker side that they present to the world. Those are good characters.

They are imaginary characters. But perhaps not solely the products of my imagination, since there are some aspects of the characters that relate to my own experience of a wide variety of people.

When you're in sync with the director, on the type of movie you want to make, the arc of the characters, how the characters intertwine and interact, plotlines and story, and things like that, it really makes a difference.

I enjoy pushing my characters to the limit. No matter how far out there I go, I look for things that make the characters human.

I write characters. Some of those characters are women.

It's your job to come up with compelling characters who speak to an individual authenticity. If I'm not interested in the characters, I can't go on. I have to be fascinated by them.

I want to play characters that people relate to, characters that make different kinds of women in society feel represented.

There's a reason why I do anxious characters - it comes from a lot of personal anxiety. The great thing is, having that history, it's really fun to bring that into the characters... and play with it.

I try to be true to the characters that I've created and sometimes I disagree with them, but their opinions about the story and the characters really matter to me.

I've done 70 different characters on my podcast. But in terms of characters that I revisit a lot, I think there are 10 that I know more in-depth.

When I look at my body of work, I've played a lot of characters who are morally conflicted - 'I'm right, no I'm wrong, I don't know what to do!' I want to play more characters who don't care as much, and who aren't as measured. They are what they are, no apologies.

I immediately noticed there were far more male characters than female characters in the programs, even now, in the 21st century.

Actually the copies of characters is something I don't particularly like to talk about in articles but just for your information, most characters there's only one.

Well, the thing about great fictional characters from literature, and the reason that they're constantly turned into characters in movies, is that they completely speak to what makes people human.

If, at the end of the day, I can look back and see pictures of all the characters I've played, and there's a smorgasbord of weirdos and interesting, odd, different characters, I'd be so happy.

'True Blood' differs from 'Six Feet Under' in that there are way more characters and plot-lines, but fundamentally it's still about the characters and their emotions.

Look at the Coen brothers. All their minor characters are as interesting as their protagonists. If the smaller characters are well-written, the whole world of the film becomes enriched. It's not the size of the thing, but the detail.

I will always find a defense for characters, and that's why it's fun playing characters that are morally ambiguous, or are at least perceived superficially as being problematic.

It is good that in our TV industry, stories revolve around female characters more than male characters but there should be no sex war.

I don't have a problem if someone else were to say that one of my characters is a good one and another one is not and is a bad one. I try myself not to have any judgment towards my characters, but certainly the audience might.

I think, almost, the film industry thinks that by making gay characters super masculine, it's an attempt at saying being gay is OK if you act like straight people. I don't think we should just have gay characters who are 100 percent femme, either. I just think it's about that mix and creating more diverse gay characters.

I love characters that are going through turmoil. To be honest, I love characters with conflict. I love characters who are really going through an emotional journey; whether it's a super-dark-crazy journey or a really relatable guy.

The established characters are easy to recall. I don't know why, but they come back to me instantly when I need them. It's the one-time-only characters that I don't remember where the voice I used came from.

I populated 'The Bourne Identity' with real characters from American history, specifically characters from the Iran-Contra affair, which my father ran the investigation of. But at the heart of it was a fictional character.

The most fun characters to work with are characters that are complicated.

I don't think male characters are as one-dimensional as female characters.

You can make low-budget film as long as there is something compelling about the characters. There is a believability in the chemistry and a likeability amongst the characters.

You need to be invested in what happens. The characters are your conduit to the story. Many modern horror films are fun but not frightening because one has not connected with the characters.

I've written original material before, where I've come up with the idea and the characters myself, and that's definitely very different to working with someone else's characters and stories.

Even in horror novels where you know most characters aren't going to make it to the end, it's crucial to have fully fleshed-out characters. If you don't do that, the reader doesn't care what happens to them.

Often, female characters are quite one dimensional, especially in a two hour film; television gives characters room to breathe and develop.

You definitely do not do films for that particular reason. You do them for yourself, for your satisfaction of creating this thing with characters and watching these characters take on real life - that's all you care about.

In a novel there's not much autobiography. There are characters in transit. Naturally, I can project something of my experiences onto the characters, but they have their own autonomy, a personality that is often a mystery to me.

I rarely return to characters. My characters, at least most of them, are much more a part of that superorganism that is the story than separate and independent creatures.

Unlike novel characters, comic book characters last an eternity. When a character is changed beyond recognition, there's no longer the merchandising aspect.

I've always liked shape-shifter characters. I gravitated towards characters like Mystique from 'X-Men,' Zam Wesell from 'Star Wars,' and Tonks from 'Harry Potter.'

I really enjoy playing intelligent characters. I'm more interested in that than just emotional kind of Mum characters.

I was of the generation where most of the Disney princesses and female characters were not girls that I admired. They just weren't characters I looked up to and identified with.

You need the audience to become invested in the characters and in order to become invested, they need to identify with the characters... and that's why the characters need to be real.

I know that shorter messages are better in terms of reply rate. The optimal length is something like 50 characters. Characters, not words.

Essentially and most simply put, plot is what the characters do to deal with the situation they are in. It is a logical sequence of events that grow from an initial incident that alters the status quo of the characters.