Top 1200 Dynamic Characters Quotes & Sayings - Page 6

I think the characters Nick and Solomon, the characters on Fear Street,' were definitely further from myself. But I think ultimately I do try to look for the gristle in every character.

I think albums should be dynamic, man.

I always say I write my own novels and the characters don't take control of me, but in fact, I look at the characters in the early stages and I think, 'What is he or she like,' and they slowly come together and they become the person they are.

I've had people who see all my characters as Native, even if they aren't. It's kind of like assuming all a writer's characters are really female because the writer is a woman. I've learned to let that go.

The world is a dynamic mess of jiggling things

I am looking at characters that will stay with people, that they will remember. Characters that are relevant.

All the other characters are so well-rounded, and it's just frustrating because female characters aren't. It's not that they're badly written, they're just underwritten. They have no internal monologues; they could be absolutely anyone.

I remember talking to Xavier Woods about so many things and vignettes and backstages and these stories we could do between our crazy weird characters and their insane, obviously fun loving characters and all this stuff.

There's nothing comparative to Damien [the current Robin] or any of the other characters. I love those characters. And this isn't, "This is better than that." I think a couple of people misread what we had said in the first issue about that stuff.

My beliefs encompass all religions. But I never show my religious inclination in my films. My characters have dark sides; they aren't the god-fearing characters. It wasn't a conscious decision. I'm a very lazy and emotional person who connects with the common man.

I don't have any special approach for playing dark characters. That's because I never looked at them as dark characters per se. For me, they were real people.

Good people can do terrible things, and that's what life is all about, the complexities and grey areas. And often characters aren't written that way in movies, especially characters for women. So you end up being either one thing or the other.

I have been part of some fantastic shows and played great characters, including a double role in 'Dil Hai Ki Manta Nahi' and a negative one in 'Sanjivani' because I was bored of playing positive characters.

If you tried to make a 'Game of Thrones' movie, you'd have to eliminate two-thirds of the characters, and there'd have to be one storyline, but on TV, you can really get to know the characters in a way that there just isn't time to do in a movie.

I think a few of my most visible roles are crazy or peppy girls, but I've played a lot of characters who are soldiers, or fighters, or meditative characters, and a lot of this stuff hasn't come out.

I feel you've got to be young and dynamic to be in politics.

I'd say that any character or setting can be given a bit of an otherworldly sheen and be the better for it. The one thing I insist on with my own writing is that I won't let magic solve my characters' real world problems. The solutions have to come from the characters themselves.

I love meeting booksellers and readers and hearing how they've read and received my stories. Often I'm surprised by which characters they've loved best, what scenes have stayed with them, what connections they've felt between my characters' lives and theirs.

I've always tried to have a healthy take on the characters I play; they are only characters I play.

When I did these psychological characters like the drug addicts, the ones who were rejected and dejected, I started to feel a sort of melancholia which was very unnatural for me to have at a teenage. Then I avoided those characters.

Our 'Top Gear' characters are based on our own characters, if exaggerated and cartoonified. We try not to be completely different to who we are, because you couldn't carry it off in the long run.

I guess the issue for me is to keep things dynamic.

For a long time now, movie characters have generally been articulate, even chatty. Call it the influence of Woody Allen, but we have become used to characters who are well able to explain themselves to others.

Perhaps I abandoned criticism because I am full of contradictions, and when you write an essay, you are not supposed to contradict yourself. But in the theater, by inventing various characters, you can. My characters are contradictory not only in their language but in their behavior as well.

I work very hard at creating complex characters, a mix of positives and negatives. They are all flawed. I believe flaws are almost universal, and they help us understand, sympathise and, paradoxically, feel closer to such characters.

It's like my characters, all my men are Dad and me in a mess; all my female characters are smart and hopeful, like Mom just trying to make the best of things.

We're showing kids a world that is very scantily populated with women and female characters. They should see female characters taking up half the planet, which we do.

Art is not an anaemic cult but a dynamic culture.

No problem stays solved in a dynamic environment.

In drama, the characters should determine the story. In melodrama, the story determines the characters.

Love is not a mood, but a dynamic way of being.

An informed citizenry is at the heart of a dynamic democracy.

I think whenever you transform from normal light-hearted characters, to characters which might be out of your comfort zone or less relatable, that is double the work and commitment required to understand the society that character comes from.

Gettting to know your characters is so much more important than plotting. Working out every detail of your story in advance, especially when you don't yet know your main characters, always seems a little too much like playing God. You're working out your characters' lives, their destiny, before they've had a chance to discover who they are and what kind of people they want to be.

And part of my vision is to do dynamic videos for kids.

The '50 Shades' series is a Cinderella story, where the characters seemingly have no flaws. The 'Crossfire' series is very different in that these two characters are almost mirror images of each other.

Growing up, I wanted to be in WWE because of watching characters like Stephanie McMahon and Paul Heyman. They just are such incredible storytellers, such incredible, compelling characters.

If you get the characters right you've done sometimes nearly half the work. I sometimes find I get the characters right then the characters will often help me write the book - not what they look like that's not very important - what people look like is not about their character. You have to describe the shape they leave in the world, how they react to things, what effect they have on people and you do that by telling their story.

You put books out into the world, and people form their own visuals and images and attachments to characters; those characters become part of them, and they have their feelings about them.

What's actually amazing is that, after a couple of years of living with characters and writing characters and talking about characters, as we sit in the writers room and break episodes, it strikes you, every once in awhile, that you're talking about a character that's played by the same actor, who you've been talking about forever. We talk about a character dying, so you get emotional, and then you realize, "Oh, but wait, that actor is still on the show."

When my characters are questioning things, it's not me leading up to an answer; it's me asking those same questions and letting the characters' lives unfold and seeing where it takes them.

I've worked with a lot of characters that are unhinged. I've played characters that are unhinged. That's, like, my job.

When the characters are believable and endearing, action scenes, for example, make an impact. Otherwise, the audience gets no kick out of action. The biggest strength of 'MCA' is that its characters are real.

I play characters that are pretty; I play characters that are sort of intimidating and confident, but that doesn't necessarily mean that I'm that.

I think having funny characters is just one way of having three-dimensional characters.

Short of a small range of physical acts-a fight, murder, lovemaking-dialogue is the most vigorous and visible inter-action of which characters in a novel are capable. Speech is what characters do to each other.

It's our job as actors to make it look like it's not manufactured. If you have two actors who understand their characters - and therefore what they are trying to portray - then all they need to do is be the characters and there's a chemistry there.

I start with an idea or a problem or a conflict, or even a situation that might be pertinent to the lives of young people, then the characters grow from that point. I try to make strong characters that change and develop and learn from their mistakes.

If we can tell a good story with characters audiences can care about, I'd like to think that prejudices can fall aside and people can just experience the story and these characters for the human beings that they are.

A dynamic economy begins with a good education.

I can't look at TV without seeing something that's been influenced by rap. Even commercials for cereal. When I was small, I was a fan of cartoon characters - now the cartoon characters are rapping!

No writer besides Shakespeare has created more memorable characters attached to vices and virtues. In even their least sympathetic characters, one senses a kind of helplessness to passion quivering between the poles of good and evil.

I tend to enjoy roles that I very closely identify with: fringe people and complicated characters, who might even be bad guys, or bad characters that have one redeeming quality.

I don't try and write strong female characters or strong male characters, I just try and write, hopefully, strong characters and sometimes they happen to be female.

Anytime I feel like I am beginning to explain the plot or characters too much my stomach churns. I like stories that let the characters speak for themselves and don't give you all the information.

Female characters in literature are full. They're messy: they've got runny noses and burp and belch. Unfortunately, in film, female characters don't often have that kind of richness.

Doc Savage, Indiana Jones, Flash Gordon... these were the kinds of characters I was thinking about as I was developing Jonas Quantum because there aren't that many brand new characters being introduced anymore.

The only black people you found were occasional characters or characters who were so feeble-witted that they couldn't manage anything, anyway. I wrote myself in, since I'm me and I'm here and I'm writing.

A jazz beat is a dynamic changing rhythm.

The characters that aren't what they seem to be or women who are stronger than people give them credit for or characters you underestimate, I always think are really interesting because there are so many possibilities with them.