Top 1200 Fictional Character Quotes & Sayings - Page 13

It's the angle that shows how we see differently. I have always believed that all documentaries are fictional. It's really the angle of the camera, the owner of the perception, that makes the story what it is. The video camera is a fiction.

I can honestly say I've never thought for a second about whether a character reflects poorly on any group. All that matters to me is that the character is true to my belief in who he or she is.

In 'Brothers,' I am going into a zone that is something that I have not done. It's a very simple and desi character. It's also a character that I think a lot of people would not have expected me to do.

How many times can you play an action character, or a quirky romantic? Every actor has to find his own way to make each character unique.

Though I'm considered a leading man, I still consider myself a character actor. Because acting, to me, is creating a character, not playing the same thing all the time.

As a child I always steered clear of science fiction, but in the autumn of 1977 the bow-wave of publicity for the first Star Wars movie had already reached me, so I was eager for anything science-fictional.

My life also prepared me to play T-Dog. That was what my entire life was about - surviving. To be on the set of 'The Walking Dead,' it was like being back home. I had to survive again, though in the fictional world.

Many of the most science-fictional tools to fight climate change are untested, are almost impossible to truly test at planetary scale - we only have one planet after all. We're better off cutting our emissions so we don't need them.

The Villain wasn't necessarily something I sat down and thought, 'Oh this is going to be my character.' It's most like other great wrestling characters, where it's more of a reflection of my actual character.

Every actor has his own approach towards acting. I believe you do not become the character you are playing. You may get closer to it but you do not lose yourself. There's just a reflection of the character in you.

Obviously, when you're in theater, you have to be in character. You have to prepare for the unexpected. You have to be able to react to things that don't necessarily happen every night, or aren't supposed to happen every night. And you have to react to it in character. In six months, 192 shows, those things did happen. And the experience of that, the ability to stay in character, I feel like I've learned a great deal.

I tried to write about my first marriage in a fictional version but got two pages into it and realised it was too personal. Then I came up with an old-fashioned love triangle, which became the plot for 'Ralph's Party.'

For me, personally, I'm more comfortable with what I would call third-person entertainment, meaning watching a character that's explicitly not me and experiencing something through a character's eyes, than what I would call first-person entertainment, which is a video game in which I am the character.

The higher education so much needed today is not given in the school, is not to be bought in the market place, but it has to be wrought out in each one of us for himself; it is the silent influence of character on character.

People will talk about character arcs, but you look at the character arc of C-3PO from 'Star Wars' to 'Return of the Jedi,' and it's a complete 180... he's not so much of a coward and a fussbudget.

It's true I have a hard time with the notion of creating a character. And I feel it's a limit. I'm always really impressed by actors who are able to construct a character, like Johnny Depp.

Making a film of a work you've played for six weeks gives you intimate knowledge of the character. By the time you go in front of the camera you've worked out the behavior and life of a character.

What I look for is identifying what the utility of a character is to the telling of the story overall. If I can identify that from reading the script, then I've got a clear idea of whether or not I think the character is worth playing.

There is a natural disposition with us to judge an author's personal character by the character of his works. We find it difficult to understand the common antithesis of a good writer and a bad man.

51st State was one that I loved doing because the character was so out there, and in a way I was sad to leave the character behind. I'm afraid I could never be that cool in real life!

It's psychologically a weird experience to be so aware of the fact that the real time of your life is moving much faster than the fictional time you're trying to depict. You start to feel very weighted down sometimes.

Costume, hair and makeup can tell you instantly, or at least give you a larger perception of who a character is. It's the first impression that you have of the character before they open their mouth, so it really does establish who they are.

[John Musker] got me reading the mythology and we very early on we worked up a basic storyline centered around the character of Maui. He just seemed like a great character to kind of build a movie around. He's this mythic demi-god, bigger than life character. He pulled up islands with his magical fishhook. He slowed down the sun. He's Pan Pacific.

Playing a TV character for seven years is almost like when you do a play. You live, breathe, and everything else with that character 24-7 for six months or four months or whatever, and that gets very deep in your blood. When you do a TV character for seven years, that's a long time. It becomes a seminal era in your life.

When you're portraying someone, whether they're real or fictional, you have to find some kind of hook where it feels real to you because if you don't believe it yourself, then no one else is going to believe it.

Between the fictional Laura of the books and the even more heavily fictionalized girl of the TV show, we've tended to lose sight of the fact that Laura Ingalls Wilder was a real person who was complicated and intense.

One thing I think is least realistic is that there were five people that made decisions in the fictional 'West Wing.' In real life, there are about five million people that weigh in.

I don't shoot two films at the same time. I finish one character and get into another character because I change my look for every film. It's difficult, but I enjoy doing that.

There are some actors that want you to call them by their character's name and they have no relationship with you outside of the character. But I like to get to know who I'm working with so that we can relax together, and it's more fun.

I doubt that I could create a character I loathed simply because when a character takes life, it is impossible not to be a little amazed by the phenomenon, and to find that the amazement has something of the quality of delight.

It wasn't until 'Double Take' that I was in a movie as the leading man, in a character that was more straight and less broad than the other character, and where the story is really about him.

The advice that I usually give to young actors is that if you can create a character for the stage and keep that character fresh for at least 6 months that means you're doing the show eight times a week.

I can't negotiate and collaborate with a character to create a distilled dramatic investigation of the raw material. I need to work with an actor. That stuff about actors who stay in character all the time is nonsense.

Once you watch any character for nine-and-half hours, be it good, bad or grey, you tend to attach yourself with it. You always feel for the character, even if he is a villain.

I didn't know how to kill off a character unless I was able, as a narrator, to get really complicated. Because it was a big deal. I'd never killed a character before.

For Marvel, we've never looked at any of our characters in terms of gender, race, or religion. It truly is about, who is the best character for the story? If that character happens to be a woman, fantastic.

I believe that all novels, ... deal with character, and that it is to express character – not to preach doctrines, sing songs, or celebrate the glories of the British Empire, that the form of the novel, so clumsy, verbose, and undramatic, so rich, elastic, and alive, has been evolved ... The great novelists have brought us to see whatever they wish us to see through some character. Otherwise they would not be novelists, but poet, historians, or pamphleteers.

Human character is just endlessly fascinating, and there is no character who is one thing any more than any one person is just one thing. As you work on a character, he/she is revealed more and more. That's what I continue to love about the work.

Whether a character in your novel is full of choler, bile, phlegm, blood or plain old buffalo chips, the fire of life is in there, too, as long as that character lives.

When I wrote my fictional novels, they always had a starting point of something real. Those images that are not real are exactly the same strength and power of the real ones, and the line between them is completely blurred.

I like playing complex, interesting characters. Sometimes I don't think there's much of a strong line between right and wrong for a character. Every character is somewhere on a moral spectrum.

You have to be completely in the character, and that's so hard to do. That's why, when they call, 'Cut!,' you often feel yourself shift. Unless you're Daniel Day Lewis, who stays in character all the time, there's a switch that happens.

'Fringe' is essentially a love story, so the scenes where Walter had close connection with Peter, but also with Anna's character or Jasika's character, were very special to me.

Any time you read the snide comments or people who have a hard time separating fictional television from reality, that's sort of just water under the bridge. It's easy to let that pass by if everyone in person is nice and warm.

To this day, I have people I might meet who will make assumptions about my life based on fictional elements of 'The Squid And The Whale.' But I think that's par for the course if you make something that feels kind of real.

Contradiction is the heart and soul of character and drama. You're always looking for it. I loved her so much I hit her; that's character. I loved her so much I hit her again; that's even more character.

I`m lucky in that in my character in hip hop is me. I`m Michael Render. My character is Killer Mike. But the truth that I sing in my raps align themselves with the policy of Bernie Sanders.

I can honestly say Ive never thought for a second about whether a character reflects poorly on any group. All that matters to me is that the character is true to my belief in who he or she is.

With films it's not usually that I have a particular character I'm looking for; I'll read the character and my imagination will start spinning and I'll go, "Yes, definitely." I'm thinking it would be nice to keep challenging myself.

I would want the audience to simply see the character I portray in each movie in its true essence because I feel acting is all about truthfully portraying the character.

Eventually we got to a point where 'Riverdale' came along, and it was a character that was originally written white, and I saw this as an opportunity to take a classic American character and make them Asian.

I think it's hard to differentiate between your wrestling character and your real character - you kind of end up being both. I've always been my wrestling character in and out of the ring and in and out of the dressing room, and I was always really respected in the dressing room by the other wrestlers.

When I'm looking for a strong female character, or a strong character at all, I'm looking for a character that has a purpose in that story, that has an interior life of some sort. They don't have to be physically strong; they don't have to be morally strong or ethically strong, because men and women come in a huge variety of all of those things. Emotionally, ethically - I'm less concerned with that. I just don't want them to be props. That's the only thing that offends me.

I think as an actor... I don't like to compare a character to anybody else, just because I respect other people's work, and I want that character to have his own identity.

I try to look at every role the same way, regardless of whether the character is real or the character is a fantasy. I always start from myself, because you have to know yourself first.

As a child I always steered clear of science fiction, but in the autumn of 1977, the bow-wave of publicity for the first 'Star Wars' movie had already reached me, so I was eager for anything science-fictional.

The chance to play a romantic character who kisses somebody onscreen was one of the elements that made me want to do 'The Stand.' The more you can do, the better, and I've been known as a character actor.

We did so much work developing the character of Kratos, why would we throw all that out? We're sort of treating the first seven games like chapter one of this character's life.

What a character wears and how it affects their mood and their movements has always been very important to me. A character's clothes, if they're truthful, can make audiences feel something.

My approach to Pennywise was, on one hand, I wanted to stay true to the essence of the character but at the same time make it an edgier character that is basically unpredictable and people won't expect everything he comes up with.