Top 1200 Fictional Character Quotes & Sayings - Page 5

In fictional families - in sitcoms, in dramas - the members are sharing huge amounts of their interior lives. And that has not been my real-life experience. In fictional families - in sitcoms, in dramas - the members are sharing huge amounts of their interior lives. And that has not been my real-life experience.

Character is distilled out of our daily confrontation with temptation, out of our regular response to the call of duty. It is formed as we learn to cherish principles and to submit to self-discipline. Character is the sum total of all the little decisions, the small deeds, the daily reactions to the choices that confront us. Character is not obtained instantly. We have to mold and hammer and forge ourselves into character. It is a distant goal to which there is no shortcut.

There are bands who write of emotions that are very heartbreaking, touching, or relatable, but they'll be like concept records, they're about fictional characters.

I'd been concerned all along that the character of the president in the West Wing pilot would throw the ensemble out of whack, that that character would simply take up all the oxygen in a room. I wanted to hold off bringing this character in until the last possible moment.

I personally am happy doing a finite series as I can't play a single character for three years. Hats off to the actors who stay in a character for three four years and enjoy every moment of their character.

When writers don't know what to do with a character, they build up the supporting cast and universe to kind of hide that fact. After a while, you can no longer see the character for the underbrush. When that happens, you need to bring out the weed-whacker to clear some of that away so you can focus on the main character.

Nothing is more important than the formation of fictional concepts, which teach us at last to understand our own.

As the character talks and moves, the world around him is slowly revealed, just like dollying a camera back for a wider look at things. So all my stories start with a character, and that character introduces setting, culture, conflict, government, economy... all of it, through his or her eyes.

I suppose all fictional characters, especially in adventure or heroic fiction, at the end of the day are our dreams about ourselves. And sometimes they can be really revealing.

The script that I fell in love with and adored was 'Jane the Virgin'... but every line in the pilot was essentially, 'Why did you keep my daughter a secret all of these years?' I didn't know any direction my character was going - was it going to be a dramatic character, a comedic character? - I didn't know.

I don't like the word 'strong,' because a strong character is never an interesting character. A character is made interesting by their vulnerabilities and their weaknesses.

I'm a bug on acting, which distinguishes Second City from a lot of other revues. It comes from the character, the behavior, and not from the jokes. I don't think jokes are funny. Humor comes out of character and out of situations the character is in.

I love Archie. I love Jughead. I like Reggie. I think my favorite character in the show is Betty. Obviously, I can't imagine myself playing that character, but if I had to choose a character, I really love Betty.

The urge to create a fictional narrative is a mysterious one, and when an idea comes, the writer's sense of what a story wants to be is only vaguely visible through the penumbra of inspiration.

Can't a rapper insist, like other artists, on a fictional reality, in which he is somehow still on the corner, despite occupying the penthouse suite?

To achieve lasting literature, fictional or factual, a writer needs perceptive vision, absorptive capacity, and creative strength.

Never say any man is hopeless, because he only represents a character, a bundle of habits, which can be checked by new and better ones. Character is repeated habits, and repeated habits alone can reform character.

Perhaps because my background is theatrical, I have a great affinity with the classics. Hamlet has always been a character of great interest to me and a character I would really love to play. Or a character in a Tennessee Williams play, maybe Tom in 'The Glass Menagerie.'

A fictional, but all too real, look at extremist militias in the United States and the extent to which some of them go to carry out their 'missions'.

Whoa, I've really got to stop making plans with fictional characters. It can't be healthy to develop relationships with people who don't exist.

The characters in my stories, whether historical or fictional, usually prove to be a compilation of influences taken from differing sources, but never drawn from one model.

I've been fascinated by mysteries for as long as I can remember. Real, fictional, solved, unsolved, I don't care; they all fascinate me. I think that's a core human trait.

I came from stage in high school, and on stage you kind of overdo with putting on a character a little bit. Sometimes you become a character and sometimes the character becomes you.

I abhor badly-written characters and any character, be it man, woman, any character in the film. If it is a well-written character, it will come across as strong.

In 'Road,' my character is linear and uni-dimensional. It was more of a reacting character. I am a foil to the other characters in the film. It is the most normal character in the most abnormal, extraordinary film.

It's relatively easy to create an ambiguous character. Any conglomeration of likable and unlikeable traits, chosen at random, will result in an ambiguous character. Getting an audience to deeply identify with a character, on the other hand, is one of the hardest things in the world to do.

I often use hypothetical situations to generate information and imagery for paintings and to create a fictional space where a subject can be put into play.

Carlton Mellick III is one of bizarro fiction's most talented practitioners, a virtuoso of the surreal, science fictional tale.

I'm free of an abusive cult, based on money and power that worships a fictional deity and safely back with the Catholic Church.

But people do the same thing with the Bible. They memorize all the fictional characters, the parameters and the rules of the game and think it's important, but I can't get excited about that myself.

The press doesn't like me, because I am a weirdo to them, so they do everything to create their own fictional Kola Boof.

The fundamentals for me are character and conflict. I put character first because readers will be indifferent to conflict if they are indifferent to the character who is experiencing it.

If you understand your character and feel like it's a collaborative process, you're more inclined to dive into the deep end and fight for your character and feel passionate about your character, and that passion comes across on screen.

The more limitations you put on a character, often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.

I think the best way to become a character is by osmosis as opposed to thinking directly about stuff. The more material that you have and understand and have a going in, then the more complex your character and the understanding of your character will be.

The word story is intended to alert the reader to the fact that, however closely the narrative may fit the facts, the fictional process has been at work.

I think outsiders sometimes produce the best fictional perspectives on reality because they're set apart from it, so they have a unique view from the border.

I believe in method acting. Whenever I'm working on a character, I start behaving like him. I start doing these things which the character would normally do. Maybe that's the way I function as an actor, and I believe in it. And that's how I try and portray a character.

Science works as a way to make sense of life and the universe. Hard SF as my preferred fictional genre just feels natural.

I was hesitant to do 'Mulan II.' For me, I felt like the story that needed to be told, this legendary character of Mulan, was already encompassed in the first movie, and I was worried they would try to create this crazy cartoon character out of this legendary character of China.

I don't want at the end of my life to look back at just a bunch of fictional movies I was involved in that kept taking me away from the real world.

Acting in an epic and a non-fictional film is a big challenge for actors, as they need to research extensively about the characters they are playing before stepping into their shoes.

I love working fictional characters into a piece of history. It plays to my strengths, which are characterization and dialogue, and assists me in my admitted weakness, plot.

There is no one-size-fits-all process. It differs from character to character and priority to priority. Every project has a different priority, and you have to be agile enough physically as well as mentally to shift from one character to another. I think I am fairly decent in that.

It makes it fun. When an actor plays a character, you want what that character wants. Otherwise it doesn't look authentic. So I really want to defeat Jimmy - I mean Jimmy as the character.

Because as an actor, I really feel you cannot judge a character. You have to totally commit to that character. And for me to totally commit to the character, I have to find those places where I understand the sequence of behavior.

Shows like 'Empire'... one of the most profound powerful things is that there's a gay male character who is loved. That character is going to save a lot of people's lives. Black families are confronting the idea that a gay black character can be human.

I've always been very strong minded on character-based fights and character-based action. If you take the character out of the action and you just shoot it as an action sequence, the audience starts to lose connection.

Women writers are often conflated with their narrators - as if we can't consciously construct fictional worlds from the ground up and can only write diary entries.

It is stories - both real and fictional - that can captivate hearts, change minds and, in the most powerful examples, spur action.

I don't want to make fictional characters who are perfect - that's a vanilla situation - but the fact is you are allowed to more carefully select and curate what it is you're going to explore.

In other words, character is far more important than intellect to the race as to the individual. We need intellect, and there is no reason why we should not have it together with character; but if we must choose between the two we choose character without a moment's hesitation.

I have always been a big fan of the character and am more of a moviegoer than a comic book guy, there is always something about the character of Batman that is very elemental. There is a great powerful myth to the character and romantic element that draws from a lot of literary sources

The more limitations you put on a character often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.

He's [Jesus] the most fascinating character in history, really - the character who's made more difference to the world than anyone since him. I daresay that Muslims would say Muhammad was that character, but I think Jesus had a sort of 600-year start on him.

There is nothing like being able to develop a three-dimensional character over a long period of time. Sometimes you aren't able to fully portray a character because you only have a couple of scenes to do it in, and you don't get the full life and background of that character.

I think it's nearly impossible to write something fictional without having it be about yourself in some way or another.

Character is developed one positive action at a time. Therefore nothing is actually trivial in our lives. To grow in character development, pay attention to seemingly trivial matters. Someone who grows from each minor life event will eventually reach high levels of character perfection.

Every character thinks differently, and every character has a different energy and way that they tick. But to find a character like Kai, who is so far that he doesn't even feel things, he is so different from me. That is the most exciting part.

It's so much harder than it looks - to conjure a fictional world that some passing wolf of skepticism can't just blow down in one breath.