Top 1200 Fictional Character Quotes & Sayings - Page 11

Films and television and even comic books are churning out vast quantities of fictional narratives, and the public continues to swallow them up with great passion. That is because human beings need stories.

There is an inalienable law. Whenever a character on screen pities himself, the audience stops pitying him. They will cry so long as the character doesn't.

I think I used Christine, who is my stage character, as an excuse to finally be myself, as if I needed to say, 'Oh this character is going to be the woman I wanted to be.'

If the moral good of fiction stems mainly from a habit of mind it inculcates in the reader, styles are neither good nor bad, and to describe some fictional enterprises as false is pointless.

As an actor, it's important to feel for the character, as you will be watched by audience, and when you start feeling your character, you share a sense of happiness and achievement.

I feel it's very important for an actor to believe in the character that he/she is playing and do full justice to it in order to convince others that you are the character you are portraying.

It can stand in the way of narration in cases where we want the protagonist to actually go through some kind of catharsis while our own (non-fictional) experiences and stories lead to something banal or completely uninteresting.

I would love nothing more to participate in a real struggle to find a character, and really delve into and develop a character. That's why I'm an actor.

I believe people leave a theater bonding with characters. Story is the vessel that carries character. Comedy is a very important component of expressing character.

Truth is only stranger than fiction if you're a stranger to the truth. Which means you're either a liar or you're fictional.

You can turn on Fox News almost any day and see some fictional story about voter fraud, the whole purpose of which is to limit voting by the poor, the elderly, college students and minorities.

Every character needs an adversary - one who is both challenging and a contrast for the hero. The best adversaries reveal something about the character they're contrasting.

I'm drawn towards people who have a little pathos and a little dark side, and I feel the same towards fictional characters.

I guess, as an actor, you have to bring something personal to the character - you've got to identify and love one element of the character, or else you can't really inhabit and find ownership.

In some ways, what I learned is that you can take a character and breathe with them, and it's up to the audience to interpret rather than you putting moral stamp on the character.

The predominant difference between television and film is the pace to which you work, but the development of the character or the process for playing the character isn't necessarily different.

I was raised in New York City and raised in the New York City theater world. My father was a theater director and an acting teacher, and it was not uncommon for me to have long discussions about the method and what the various different processes were to finding a character and exploring character and realizing that character.

Every time I've talked about the Republic of Gilead, I always say, 'The still-fictional Republic of Gilead.'

You do not characterize by telling the reader about the character. You do it by showing the character thinking, speaking and acting in a characteristic way. You simply show it and shut up.

Sometimes when a character in a novel is difficult for me to enter, I sue something in myself or in my own life as a doorway into that character's mind and emotions.

In 'Shadow Tag,' Erdrich creates scenes from a fictional marriage, that of two American Indians, Irene and her painter husband Gil, that suggest some of the worst psychological torments and stresses of real life.

The German national character is a favorite subject of character experts, probably because the less mature a nation, the more she is an object of criticism and not of history.

I never base a character on someone I know. You can get ideas from real life, but every character you write is some aspect of yourself.

It's really a misconception to identify the writer with the main character, given that the author creates all the characters in the book. In certain ways, I'm every character.

I don't have any single character that is my favorite because I would like to be known for the sum total of my work and not for an individual character that I might have played.

There's nothing more liberating about starting with something that is not written. You pretty much create the history of that character and that character's life story.

I don't really go into labels or an in-depth discussion of different value systems because for me, it's sort of the truth of the situation in D.C. Certainly, in my fictional depiction of it, there are decent, shameless people on both sides at every level.

What gets us excited about any movie is the social relevance and the character themes and the character journeys and like the adventure story.

Dubbing can change the 'sur' of the character. Doing it for another actor and to make it believable is tricky but interesting because you do not know the graph of the character.

I'd always assumed I was the central character in my own story, but now it occured to me I might in fact be only a minor character in someone else's.

If you change a character too much, the audience falls out of love with the character, but characters need to evolve and grow over the years.

Character: The ability to carry out a worthy decision after the emotion of making that decision has passed. Character simply stated is doing what you said you were going to do. If you develop a reputation for that, do you have any idea the effect that has on self-perception? Its immense, just immense. The Savior was a man of character. He did everything he said he was going to do.

We live in a science fictional world with things like cloning and face transplants, and things seem to be getting stranger and stranger.

I read way, way more Andre Norton than could possibly have been healthy. It was a short hop from her to the rest of the library's science fictional and fantastic holdings.

Children are 25 percent of the population but 100 percent of the future. If we wish to renew society, we must raise up a generation of children who have strong moral character. And if we wish to do that, we have two responsibilities: first, to model good character in our own lives, and second, to intentionally foster character development in our young.

Well, I think it can be quite helpful to be working on a character who actually existed, historically. Of course, you might have material to study and help you create the character.

Readers of novels often fall into the bad habit of being overly exacting about the characters' moral flaws. They apply to these fictional beings standards that no one they know in real life could possibly meet.

Republicans and Democrats have used accounting gimmicks and competing government analyses to deceive the public into believing that 2 + 2 = 6. If our leaders cannot agree on the numbers, if 'facts' are fictional, how can they possibly have a substantive debate on solutions?

I'm really proud of it. To me, it's a movie about character behavior and the pecking order of the pack, as well as the central character's massive survival guilt.

Time limits are fictional. Losing all sense of time is actually the way to reality. We use clocks and calendars for convenience sake, not because that kind of time is real.

'm really proud of it. To me, it's a movie about character behavior and the pecking order of the pack, as well as the central character's massive survival guilt.

I try not to divide plot and character. I get to know a character by what they want and fear and how those internal forces play out in their lives.

The character of instrumental music... lets the emotions radiate and shine in their own character without presuming to display them as real or imaginary representations.

I like good stories. Quality products and character are what's important. Even if the script isn't that strong, if I challenge myself with a great character, I'll go for it.

When you describe a character's dream, it has to be sharper than reality in some way and more meaningful. It has to somehow speak to plot, character, and all the rest.

It is very satisfying to see people praising you and your character, and the journey of the character moved them. It gives you a lot of confidence as an actor.

Of course the chronology of the books is a bit back- to - front, and books usually come out before movies. But happily, these [Bridget Jones's] are fictional comedy diaries - not a history of the Battle of Waterloo.

Anthropologists are great at novelistic observations. I would be thrilled if this novel would encourage anthropologists to write what they see in fictional form.

It's just a really cool deal to be a character in 'WWE 2K17.' Whether it's competing on Nitro or Halloween Havoc, to have me as an available character... it's a tribute.

Getting out of a character is emotionally taxing. You get used to being a person on camera, and when you move on, the character remains with you for a long time.

My character is such an entertaining character that it is a whole other element to the show, so once they put me and Carmella together it was like, okay, now I have something to do.

My thing about looking good is that it should be the character. If I'm playing a character who's concerned about his body - an athlete, say - I'll get in shape. If I'm playing a character who doesn't or wouldn't, I don't. I almost never get in shape for a movie, even though I know it would be a good career move.

This is magic we're talking about. It's supposed to go places science can't, defy logic, wink at technology, fill us all with the sensawunda that comes of gazing upon a fictional world and seeing something truly different from our own.

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.

I was in two episodes playing Christopher Reeve's character's emissary. They wanted to have my character announce Dr Swan's death, which I thought was exploitative.

Strangely enough, the first character in Fried Green Tomatoes was the cafe, and the town. I think a place can be as much a character in a novel as the people.

I've noticed though that people will always assume you are the character you last played. I guess it's a compliment to playing your character convincingly.

When you get into a film, it is one story and one set development of a character, and you are able to delve into one character for a short period of time and discover everything about them.

In dramatic writing, the very essence is character change. The character at the end is not the same as he was at the beginning. He's changed-psychologically, maybe even physically.

I've always liked the downtrodden character on different shows. Before 'Parks,' I loved the Toby character on 'The Office.' I do like playing that type of thing.