Top 1200 Dynamic Characters Quotes & Sayings - Page 5

When we create female characters, I think often there is a tendency to kind of make female characters emotionally bulletproof.

I really do believe that people surprise you. And one of the powerful things about novels is that they're about characters, and those characters live their lives.

To me, truth is the big thing. Constantly you're writing something and you get to a place where your characters could go this way or that and I just can't lie. The characters have gotta be true to themselves.

Grey characters don't only mean broody characters. A totally smitten lover boy can be equally grey if written that way.

The orb allows for constant dynamic feedback.

So much of what I do... is coming up with new characters and trying to invent voices for them, and to have people fully fleshed out in my head and to know who can say what in the scene and who these characters are... I love it.

I always try to get as personal as I can with the characters that I play, which is a reason why I don't play a lot of characters.

I have played Blair Cramer for 20 years, I feel a personal investment in the success of 'One Life to Live.' I love the show, I'm a fan of the characters, and I have invested in the journey these fictional characters have traveled.

There are some characters in 'The Names' who are very much heroes and others who can only be called villains. But generally, as we get to know them, we see most of the characters are, or at least become, quite nuanced.

Inventing characters is extraordinary: proper authors say so often that characters 'just appear' and that does happen. These people keep leaping out and saying, why don't you write about me?

I dont categorize characters into one syllable. These are fully-rounded characters that I dont judge; I just play them.

I'm a mixed race lad from Liverpool. I get to play a lot of hard characters, and some people perceive that's what I'm like, but it's great for me 'cos they're always the most interesting characters.

I think, ultimately, if you create characters that people like and can relate to, your characters are grounded on a human level even if your cars are not.

The fact that I like to make characters doesn't mean that I like to watch my characters being made, my performance.

The life story of the five main characters and the secondary characters around them allows Jonathan Franzen to present the full impetus and extent of the world picture of the West at the end of the 20th century.

I don't try to intellectualize characters too much. But I always think of the audience. I always make sure that my characters are likeable.

Try to get your characters into interesting trouble. Allow your characters to misbehave. Let them stay out after 11.

I call it an ensemble cast or the world of 'Gulabo Sitabo' which is about the lifestyle of my characters. I just go and sit there in a corner and observe these characters through my camera. That's how I shot the film.

I get the feeling that characters are written female when they have to be, and all the other characters are male, and it doesn't occur to somebody that the lawyer, the best friend, the landlord, whoever, can be female.

I think that I write much more naturally about characters in solitude than characters interacting with others. My natural inclination - and one that I've learned to push against - is to give primacy to a character's interior world. Over the three books that I've written, I've had to teach myself that not every feeling needs to be described and that often the most impactful writing more elegantly evokes those unnamed feelings through the way characters speak and behave.

I love playing really strung out characters, and characters that are really pushed to their limits and losing their mind.

Some of my acting heroes have built careers on playing characters who do horrendous things - they're repellent and lovable. They're not likable, but they're lovable. I think Christine is one of those characters.

When I imagine feminine characters in my songs, they're often bold, strong, passionate, militant, witty, sensual, dangerous. I see those characters as skillful witnesses, figures of change and awakening.

I have an amazing family dynamic.

There is something really so iconic about the original Predator, and it is exciting. It's not just special effects. It's not like you bring a puppet in, these are characters and so we were involved in developing the look and the attitude of all the characters.

That's a long way of saying no, I'm always too bound up in thinking about the characters in whatever I'm working on and trying to make good to dwell on characters from previous books.

I love flawed characters, male or female, and I only want to talk about flawed characters, really, in what I do.

I like to play non-cardboard characters. I try and bring out the many complex layers in the personality of the characters I play.

I'm such a fan of Deadwood. I love the characters in that. They're such wonderful characters. I'm a fan of The Wire. Those are all heavily character-based shows.

Theater people say you are either a comedian or a tragedian, and I'm a tragedian. And the vexing, dark characters, the ones where I don't understand their pain or their anguish, they are the characters that appeal to me.

Usually, the biggest companies are not the most dynamic.

I think every writer will tell you that their characters are always partially themselves: who I am and what I've experienced. It's always there in part of my characters.

When you look at all of the male characters on television and in film, it's not like every one of them are the people doing the right thing that you can point to as your own moral compass. We need to have all kinds of characters represented.

We have to give our poor, innocent, and undeserving-of-our-badness characters trouble in order to make them characters in a story.

I love liminal characters. I love these characters that are outside and enter and consequently are perpetually outsiders, and who hold themselves to a higher standard.

I'm very drawn to characters who are very flawed. I'm less interested in characters who are just good or bad, because to me then they're not real people.

I don't start with the characters. I start with the series of events that will provide the conflict and how it can be resolved. Characters are incidental.

People relate to my characters and see me in a different way. They identify with me and remember the nuances of my characters.

I've shied away from playing Asian characters. if you look back, I'm playing characters that have no relevance to my ethnicity.

Where are the flamboyant characters?! This is what America desperately needs right now! Flamboyant intellectual characters who can cut different ways. And, that's just what I'm missing.

There are good characters and bad characters.

I'm fortunate in that I'm what you call a utility player, in that I can take a scene, if there's five or six minor characters in a scene, that need voice and personality [and] I can supply those characters.

As an actor, you read so many scripts and parts written for Asian-specific characters, and you see a lot of stereotypes and a lot of one-note characters, especially in comedy.

It's necessary to track characters all the way through an opera. If you're dealing with more than one or two characters, it's very easy to forget that the others have lives of their own that feed into the story.

Dynamic benign neglect.

My voice is not very dynamic.

I don't really base any of my characters on specific people that I know, although my characters are informed by the kind of people who live in my community.

Chairman Mao not only introduced Pinyin in China, but also simplified half the Chinese characters, believing that fewer strokes would enable more people to learn to write the characters.

Drama comes from characters changing. If characters stay the same and nothing changes, there's really nothing to look at.

People think I'm thick because of the characters I play. I think I'm brighter than the characters. Well, I hope I am.

And as much as I love the gritty characters, I like to play all sorts of characters. I'm an actor. I love to create.

When I'm creating characters, I just want to create characters that I can relate to, and be as honest about them as people as I can be. That's what I want to see when I go to the movies.

I'm not saying I talk to cartoon characters all the time, but the characters are very real to me. In a very non-insane way.

There are certain artists and filmmakers who, I get the impression, are trying to show off how bad their characters can be, how immoral their characters can be.

I get very involved in my characters. Sometimes I have a very hard time separating my characters from my life.

One of the reasons I never had a problem handing over my characters to other creators is that I knew that they would add their own influences and takes on the characters and make them better for it.

I think it's very hard to talk about these characters in a closed-ended, sort of non-sequel way, especially characters like The Flash and Green Lantern, which have such rich, long histories.

We are all potentially characters in a novel--with the difference that characters in a novel really get to live their lives to the full.

Will is the dynamic soul-force.

Disney has a bible for their characters, so that people who draw Disney characters have to make them look correct.