Top 1200 Fictional Character Quotes & Sayings - Page 6

I remember someone told me Donald Trump may not leave after the election. It seemed like a fictional, almost science-fiction idea.

I don't only act out of my character; my character reacts to my actions. Each time I why, even if I'm not caught, I become a little bit more of this ugly thing: a liar. Character is always in the making, with each morally valenced action, whether right or wrong, affecting our characters, the people who we are.

I like fictional stories - like, things that never happened but the seed of it starts as real.

Character grows in the soil of experience with the fertilization of example, the moisture of ambition, and the sunshine of satisfaction. Character cannot be purchased, bargained for, inherited, rented or imported from afar. It must be home-grown. Purely intellectual development without commensurate internal character development makes as much sense as putting a high-powered sports car in the hands of a teenager who is high on drugs. Yet all too often in the academic world, that's exactly what we do by not focusing on the character development of young people.

I love accents; I would love to find more characters with a variety of vocal intonations. It creates a character. It's like you're singing a song. Some people find their character through walking or movement - for me, voice is one of the ways I find parts of the character.

Within a science fictional space, memory and regret are, when taken together, the set of necessary and sufficient elements required to produce a time machine.

I admire men of character and I judge character not by how men deal with their superiors, but mostly how they deal with their subordinates. And that, to me, is where you find out what the character of a man is.

This case is just as racist as the fictional, but unfortunately all too typical case, in 'To Kill a Mockingbird'.

The late 90s were crazy science-fictional if you were inside the superheated steam bubble of the dot-com 1.0 industry.

When I was little, all I really wanted out of my life was to become Nancy Drew. I've always enjoyed fictional sleuths, especially Nancy.

I learned a lot from Dick Wolf. I'll always remember playing that character because it was such a good character. It was great to be able to be a character like that for television. I think the thing that I'll bring from the whole experience, the whole 10 years, is I had never been interested in the television business before.

When you have a novel set in a fictional history, you still should get your history right.

[O]ur statesmen, our businessmen, our everyman must take on a science fictional way of thinking.

The desire to criticise becomes less and less as the character is developed. It is the mark of a ?ne character never to be critical and to mention but rarely the faults of others. A strong character does not resist evil, but uses their strength in building the good. They know that when the light is made strong, the darkness will disappear of itself.

If you have to write a fictional adventure to convey a philosophy of evil, the best person is the destroyer of evil himself, Lord Shiva.

I love accents, I would love to find more characters with a variety of vocal intonations. It creates a character. It’s like you're singing a song. Some people find their character through walking or movement — for me, voice is one of the ways I find parts of the character.

Understand and apply this vital principle to your life: Your exercise of faith builds character. Fortified character expands your capacity to exercise greater faith. Thus, your confidence in making correct decisions is enhanced. And the strengthening cycle continues. The more your character is fortified, the more enabled you are to exercise the power of faith for yet stronger character.

The ability to stretch my range into all genres and characters is something I take great pleasure in doing. I thoroughly enjoy it. I consider myself a character actor, though some think of me as a leading man. As an actor, I love shifting gears from character to character, and the more range I can expand, the better.

When I play a gay character, I want to be as believable as possible. And when I'm playing a straight character, I also want to be as believable as possible. So the less that people know about my personal life, the more believable I can be as a character.

There's different ways of getting into character. There's what's called 'the outside,' in which is finding the physicality of the character first. To give an example, in 'Gettin' Square' - Johnny Spitieri - that's how I found that character. I knew those people that I'd seen up at Kings Cross. I knew how they sounded.

'Bell Choir Coast' is about a fictional land where I was able to start over, discover myself, and learn to take life a lot less seriously.

I made my own fictional land, which is 'Bell Choir Coast.' It was a response to feeling really, really lost, and it was what I was looking for.

Some mystery should be left in the revelation of character in a play, just as a great deal of mystery is always left in the revelation of character in life, even in one's own character to himself.

Your character - you own it. That's something you have to grab hold of on 'This Is England'. Your character is your character.

The fictional treatment of biographical material - a treatment that for me is essential - is full of traps.

A story invites both writer and reader into a kind of superficial ease: we want to slide along, pleasingly entertained, lost in the fictional dream.

'Doctor Who' is part of my science fictional DNA. You could take it out of me, and I'd probably still have ended up being a writer, but almost certainly not the same one.

If you're writing a scene for a character with whom you disagree in every way, you still need to show how that character is absolutely justified in his or her own mind, or the scene will come across as being about the author's views rather than about the character's.

Character is just another word for having a perfectly disciplined and educated will. A person can make his own character by blending these elements with an intense desire to achieve excellence. Everyone is different in what I will call magnitude, but the capacity to achieve character is still the same.

Having been a theater person first, you have the whole character, and you see the arc of the character in a play. And then when you do a movie, you have the whole character - or, if it's a small role, there's not much arc, but you see what the whole part is.

I'm very much into the costuming of any character that I portray and it's one of the great things about making movies is it's a collaborative art form so you get all these artists who are looking specifically about for this instance your character's costume and what that might tell about your character.

Not every character that you play is going to be somebody that you like or love, but every character that you play has a story that is worth telling. If you're not the person to tell it, that's one thing. But if you don't want to tell it because you are afraid of the unpopularity of the character, I view that as a missed opportunity.

The ability to get inside your character's head in a graphic novel is really fun and useful because one, you can really define the character's voice and two, it's a way easier way to convey what the character's thinking by actually laying out what he's thinking.

Having spent so much time in a fictional world, I prefer to read about the real world

I’d like to be the kind of actor who is remembered for my character. You know how there are cases where even when you watch all the way through the end of a drama, you remember the actor’s name, not the character’s. I want my character’s name to be more remembered than mine.

There's a point I can get to where I start writing character and then through the dialogue, after all of this preparation, the thing starts to feel like it's a character developing through the dialogue. A lot of character traits do come from writing dialogue, but I have to be ready to do it.

Handsome, fictional men were so much easier to stomach than real life ones who smelled of Christmas and looked like a Calvin Klein model

And, for any performer, to be able to go deep into character is fantastic. In film you only get to do that if you're the leading character. But in television you get 18 hours to really test the audience and take them to the edge of how far they will go with this character. I can step over this line and I love that.

The biggest fatal flaw in most fictional portrayals of nanotech - what sends those books arcing across the room - is ignoring that the nanobots need energy to do... anything.

I wish I was more like my character. In character, I am the queen. I am strong. I am confident, sometimes cocky. I'm hard to beat. Out of character, I am a daughter, a sister, an aunt, a best friend and just the girl next door that likes Ben & Jerry's ice cream.

If you think of even Tolstoy or a book like 'Anna Karenina,' you go from character to character, and each section is from the third person perspective of a different character, so you get to see the whole world a little more kaleidoscopically that way. That's traditional narrative manner, and I haven't done a book like that before, but I enjoyed it.

Eleanor Oliphant isn't me or anyone I know. Of course I've felt loneliness - everybody does - but Eleanor and her experiences are fictional.

Brains and character rule the world. The most distinguished Frenchman of the last century said: Men succeed less by their talents than their character. There were scores of men a hundred years ago who had more intellect than Washington. He outlives and overrides them all by the influence of his character.

You can't hide behind the guise of fiction. No matter how autobiographical a fictional scene is, you can always tell the reader - in protecting yourself - that you made it up.

I think everything you do, characters I always find, have their own voices and once you establish who that character is you find a different voice. I think it's just a question of establishing that character and the voice speaks through that character.

The character of human life, like the character of the human condition, like the character of all life, is "ambiguity": the inseparable mixture of good and evil, the true and false, the creative and destructive forces-both individual and social.

Being in Washington is more fictional than being in Hollywood.

My work sanitizes it (emotion) but it is also symbolic of commercial art sanitizing human feelings. I think it can be read that way.... People mistake the character of line for the character of art. But it's really the position of line that's important, or the position of anything, any contrast, not the character of it.

People of a certain age look back on the Mayberry of 'The Andy Griffith Show' and become almost as homesick for that simple fictional hamlet as they do for their own home towns.

In novels you're able to occupy character's internal thoughts and it's really hard to do in a film or a TV show. When you're reading a character's thoughts or when it's in first person, you're reading kind of their own story, so you have the opportunity to see what makes that character complex or complicated. And to me that's what the whole point of fiction is.

If you created a place in air where they're breathing and running around in, and then they speak in that fictional milieu, it's perfectly authenticated because the whole world relies on you, who've made it possible.

My characters are fictional. I get ideas from real people, sometimes, but my characters always exist only in my head.

My job as a character actor is to make me fit the character, to serve the character. To present this human being who turns up in a piece of film or entertainment that's going, you know, exist as if it might exist after the film is finished and it existed before the film has started.

Having spent so much time in a fictional world, I prefer to read about the real world.

The way superheroes dominate the fictional landscape now, along with dystopian futures and zombies. Yeah, definitely - I think these stories function as a kind of mythology for us.

There's an undeniable thrill in seeing what's most current in our lives offered back to us in fictional guise, but it soon dates and it's never enough.

You have a certain objectivity, as a member of the audience, and you can come away maybe being provoked into a certain discourse or a certain arena of questioning, regarding how you would deal with things that your character has to deal with. Whereas when you're doing a film, once you start asking, "What would I do?," you're getting the distance greater between yourself and the character, or you're bringing the character to you, which I think is self-serving, in the wrong way. The idea is to bring yourself to the character.

...in the theatre the stage keeps the audience aware of the fictional nature of the action. The reader poring over a magazine, on the other hand, identifies what he sees in the photographs as real.

My sister was the inspiration for the character, the good qualities instilled in the character. The initial inspiration was there, but Stargirl has taken on a life of her own. She's her own character now.

Your character is your destiny. Building character is a task for the brave and dedicated. There are no shortcuts when it comes to building character. If you wish to cure minimalism in your own life, to develop a complete commitment to excellence and an absolute rejection of mediocrity, the question you need to start asking yourself is, "What is the most I can do?"