Top 1200 Dynamic Characters Quotes & Sayings - Page 9

I enjoy playing a quintessential antihero. There's something therapeutic about playing such characters. I know it sounds corny but I feel like I learn about myself when I play that characters.

There are no characters in the limited series Fargo that are derived from the characters in the film Fargo. It's hard to describe how remarkably true to the film the show is.

If I hadn't left South Africa, I felt I was at risk of being pigeonholed. I looked around and saw actors who, 10 to 15 years into their careers, were still playing stereotypical Afrikaans characters, stereotyped Indian characters. That was not something that I wanted for myself.

A writer has to stand outside the page. It's not for the writer to shed tears onto the pages for these characters. It's not for him to suffer or to laugh or to experience ecstasy or agony in the manner of the characters on the pages.

People say that to me and I think what unites all my characters is that they are hurt; it's most accurate to say I play characters that are hurt but are responding to their environment.

The whole nature of the show [ Dirk Gently's Holistic Detective Agency] is that everything is connected, and everything is interconnected. You have all of these strands with all of these characters, and you watch the characters interact and you wonder, "What do they have to do with each other? How does any of this link?"

All of the characters in my films, they share one commonality. It doesn't matter whether they are good or bad, it doesn't matter whether they are smart or stupid, these characters all take responsibility for their own behavior. I'm much the same.

Damita Jo. Jo. That's my middle name. It's let in about the different characters that live within me. They say we have 200 characters that we portray with different people.

The most dynamic cities have always been immersed in the critical innovations of their time.

It's always imperative to improve and to remain dynamic - or you'll become lunch, as opposed to serving it.

Revision has its own peculiar pleasures and its own peculiar frustrations. The ground rules are already established; the characters already exist. You don't have to bring the characters to life, but you do have to make them more convincing.

What people like are things to laugh at. Funny shows. It's all in the execution, the writing and the characters, not the setting. And the writing and the execution and the characters are GREAT on (Everybody Loves Raymond).

The Russian composers, especially, tricked the symphony orchestra into the kind of dynamic, rhythmic thing

Of course you can find something exciting and dynamic in any character you want to portray.

Instead of this absurd division into sexes they ought to class people as static and dynamic.

Obviously, I love superheroes; I love comic book characters, but I... I guess I've had a lifelong affection for comics, and while I love the characters so much, I also love the medium.

Another dynamic of this last year was our increased penetration into the Japanese market.

I used to worry that if I wasn't having a dynamic life, then I wouldn't have anything to talk about.

In the courageous standing of uncertainty, faith shows most visibly its dynamic character.

The most important thing for me in an action sequence is, you understand the characters' intention and the challenges the characters are going to have to face: what the character story is within the action sequence.

It's hard to know whether certain characters come to life or not, they either come to have their own life or they don't. I've written many things in which the characters just remain inert.

To connect with the characters, you need to connect with the world. If the world feels vaguely familiar, I believe the characters will feel relatable.

My characters are usually composites. I wish I could pretend that I make up all of these characters, but no. I steal from people. But people will say to me, "Oh, that's me!" and I'm thinking, no, that's not you!

I just write characters, and somehow they happen to be a boy and a girl. When the story is put together, and their characters interwoven, they do end up together somehow.

I used to subscribe to Nintendo Power. The first issue had 'Mario 2,' and it had all the characters rendered in clay. So I started making all of these characters out of clay.

I hope it's not all I'll ever do, but I know I've played enigmatic characters. For me, the good characters are people who get places, are devious, are cunning and tricky and hard to pin down. Obviously, if you play one and you do an okay job of it, that'll be on people's minds.

The Beautiful Things that Heaven Bears is very much about America - it just happens to have African and Ethiopian characters, and in fact, it happens to have more characters who are not Ethiopian than who are.

One of the things I'm concerned about is that I really want to make sure the races of all the characters are kept. I don't like it when black characters become white in movies, or things like that.

I really love idiot, enlightened characters - these characters who fail to engage with the drama of their immediate circumstances; they fail to be reactive and enrolled by drama as it happens around them.

Male playwrights, on the whole, are probably more interested in male characters. They need women characters to be the women in their lives or to be the domestic difficulty.

Lots of times when you watch anime, the characters all have white skin - all the characters in fantasy stories all have white skin, which I never liked.

I like movies about people and movies with characters; that's what I'm drawn to as a person who likes to create these characters within the story, but I like it all, really.

I do like writing songs in a band. When it's rock, it's such a different kind of dynamic, obviously.

I'm attracted to films that have strong female characters because there are strong female characters in my life. That's my own reality, so it's a doorway into a world for me.

To play different characters on a TV show where you're working every day, playing multiple characters every day, it's so ridiculously intense.

If there are no other wonderful roles that come my way, I have a quite an interesting, dynamic life.

'The Beautiful Things that Heaven Bears' is very much about America - it just happens to have African and Ethiopian characters, and in fact, it happens to have more characters who are not Ethiopian than who are.

Dictators are ludicrous characters, and, you know, in my career and in my life, I've always enjoyed sort of inhabiting these ludicrous, larger-than-life characters that somehow exist in the real world.

It is a free world. It is a dynamic of our new day and age: technology is everywhere.

Even in high school, I was balanced. It's just that my run plays were dynamic.

Profit, wealth creation, competition - these are not dirty words but the lifeblood of a dynamic economy.

Creatively, I just like interesting characters. So straight, gay, or whatever - like, whatever, wherever the characters are coming from or their lifestyle.

The Russian composers, especially, tricked the symphony orchestra into the kind of dynamic, rhythmic thing.

When you start writing, you have your characters on a metaphorical paved road, and as they go down it, all these other roads become available that they can go down. And a lot of writers have roadblocks in front of those roads: they won’t allow their characters to go down those roads... I’ve never put any roadblocks on any of these paths. My characters can go wherever they would naturally go, and I’ll follow them.

I'm really into, like, characters - music characters like Sid Vicious and Kurt Cobain - just, like, how they are and stuff. Like Lil Wayne.

I like to hear and smell the countryside, the land that my characters inhabit. I don’t want these characters to step off the page, I want them to step out of the landscape.

I think that I've always been attracted to characters who are positive and come from a very innocent place. I think there's a lot of room for discovery in these characters, and that's something I always have fun playing.

For me, grief is a static thing, and my movies have an extremely dynamic sort of movement.

Chaykin at his ballsiest and most dynamic. This is how the Shadow should be done.

Dialogue is the ideal means of showing what is between the characters. It crystallizes relationships. It should, ideally, be so effective as to make analysis or explanation of the relationships between the characters unnecessary.

I think social media brings another dynamic to running for office so publicly.

At the end of your twenties, you realize you are inherently flawed, and that's great, and that's what makes you dynamic.

I'm attracted to stories that excite my imagination, stories that, as I'm reading the script, I feel it, I can see it, I can hear the characters. I'm attracted to characters that are real, that tap into something inside me that I haven't explored yet.

The relationship between reader and characters is very difficult. It is even more peculiar than the relationship between the writer and his characters.

I just like that dynamic in relationships in movies where they're kind of lovers as rivals, you know?

I mean when I was working shall we say with Disney, you know they sent me the script for the film Hercules and I had to imagine what all the characters looked like. And to develop those characters, so nothing exists visually when I get the script.

I like straightforward names for my characters. When I get too symbolic with names or places, I start feeling like the characters and the story are less read, and I lose interest.

My family and I have such a different dynamic now. We've talked through a lot of our abuse.

I'd like to work more, but I don't just want to do kind of generic characters. I want to do interesting characters, and I'd like to be cast against type.

With soccer, it's such a dynamic sport. It's important that however you play, you should be training like that.