Top 1200 Judge Of Character Quotes & Sayings - Page 15

The first thing I read was of my character on the phone talking to Sydney's fiance. Though short, it was so beautifully written, and it made me laugh. I thought if I wanted to play a character, this would be it.

Be thankful that sometimes God lets you struggle for a long time before that answer comes. Your character will grow; your faith will increase. There is a relationship between these two: the greater your faith, the stronger your character, and increased character enhances your ability to exercise even greater faith.

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.

I'm an actor. I'll take a lead if it's offered. The really good actors can fill a character, no matter what the role is. A good leading man is a character actor; a good character actor can be a leading man.

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.

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.

On the last day of every character I've ever played, I lay the clothes out on the floor with the shoes and socks, so that it looks like the character has literally vanished. That's the way you have to leave them.

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.

My approach to the work is the same, whether I had the lead or a supporting role. I consider myself a character actor in the true sense of the word. Unless I'm doing my autobiography, I'm playing a character.

I tend to foster drama via bleakness. If I want the reader to feel sympathy for a character, I cleave the character in half, on his birthday. And then it starts raining. And he's made of sugar.

I'm an actor, I created the character myself originally. I do tell the fans I appreciate that they think he's real. It all finally comes down to the writers who really got the character and wrote so many memorable lines.

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.

When I create a character, particularly my central character, I want someone who is interesting and feels real and who might have quite a few virtues but is unlikely to be perfect, who hasn't necessarily made all the right choices.

In 'Out of the Dark,' I'm talking about my own life. I'm not talking as a character or speaking as a character. I was not as free as when I write fiction.

When you win a race like this the feeling is very, very good. There have been times when I have been flat-out to finish sixth, but you can't see that from the outside. In 1980 I finished three or four times in seventh place. I pushed like mad, yet everyone was gathered around the winner and they were thinking that I was just trundling around. But that's motor racing. So in fact the only thing you can judge in this sport is the long term. You can judge a career or a season, but not one race.

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.

I want to read about a character doing something fairly quiet where I can picture who the character is, and what their attitude towards the world is - which I'm a lot more interested in than what they do under the pressure of a gunfight.

When I was acting, I got trained in creating a character as a three-dimensional person. If you're doing it right you should be able to draw an audience into the character's world and make them feel their fears.

My key interest in choosing scripts is character-driven stories, because there are so many stories that sacrifice character for plot.

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.

There were episodes where I would wear seven or eight outfits. It took a lot of time to get those together. What the character wears is very essential to how I create the character.

You want, in a sense, to relate to the main character, so often, the main character POV is a bit more of a blank slate.

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.

'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.

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.

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.

Most of the comedy characters I played have been extensions of my own personality and very similar to Mike Channel. It's a weird eclectic mixture of your genuine character and the character you portray.

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.

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.

I would rather be adorned by beauty of character than jewels. Jewels are the gift of fortune, while character comes from within.

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.

It was seriously just a name. They didn’t tell you what to do. They didn’t tell you how they wanted the character to be - nothing. You went in to audition for this character name and that was it. When I started, before I came onto the set, I went to Gene Roddenberry and said: hey, what do you want from this guy? Who is he? And being as smart as he is, he said: don’t listen to what you’ve heard or read or seen in the past, nothing. Just make the character your own. And that’s what I did.

I would love to do an anthology show based on the character of Jesse B. Semple that Langston Hughes wrote about. He's sort of a Forrest Gump character in the midst of 20th century Harlem.

There should be a law that no ordinary newspaper should be allowed to write about art. The harm they do by their foolish and random writing it would be impossible to overestimate--not to the artist but to the public.... Without them we would judge a man simply by his work; but at present the newspapers are trying hard to induce the public to judge a sculptor, for instance, never by his statues but by the way he treats his wife; a painter by the amount of his income and a poet by the colour of his necktie.

Every movie I work with the costume designer to see what feels like the character, not what Columbus would wear but what is right for the character. Outside of the armored truck standard issue security guard uniform, this guy is trying to make ends meet. He might have one pair of jeans, the same boot, maybe changes his shirt but he doesn't have a walk-in closet full of things, so I wanted something comfortable that felt like the character.

That's what we do in the WWE: we tell stories; we're characters. We go into the ring, and my character is telling a story in the ring against another character.

Adversity is a crossroads that makes a person choose one of two paths: character or compromise. Every time he chooses character, he becomes stronger, even if that choice brings negative consequences.

What you can do with visual effects is enhance the look of the character, but the actual integrity of the emotional performance and the way the character's facial expressions work, that is what is going to be created on the day with other actors and the director.

You get to know a character that you play on-stage in a pretty profound way over a length of time. I don't want to sound highfalutin and say you become the character, you just start bringing more and more of yourself to the part until the character and actor, it's hard to tell them apart. It's some weird amalgam. In film, because of the period of time, I don't know that you ever get that deep into it.

I need to be able to write a poem after every film and to kind of cleanse myself from the character because for about three months or so, I'm constantly living through the character's eyes.

There's no need for a female character that does things like a male character; that's not what makes interesting female characters in my view.

If you can find a way your character moves, you know more about your character than you'd ever dream.

You just play what a writer writes, in terms of what a character chooses to do and how a character chooses to deal with their various relationships.

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.

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.

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.

We make the assumption that everyone sees life the way we do. We assume that others think the way we think, feel the way we feel, judge the way we judge, and abuse the way we abuse. This is the biggest assumption that humans make.

I prefer not to wink out from behind the character as myself, saying to the audience, "It's just me here, right, guys?" Peter Sellers is my model, and he didn't do that - he wore his character from head to toe.

It makes it easier, if you can't do an American accent. I don't know. It's different. I played a character in Never Let Me Go where the script for my character was very sparse, and I enjoyed it. With Never Let Me Go, I had a whole book written from my character's point of view, so I always knew where I was. But, with Ryan [Gosling], it was just easy. He's such a brilliant actor and he is so prepared. He doesn't have to warm himself up to be in a scene. He's just in it. It draws you in, in a way.

You know, I always got offered other stuff. Not the romantic leads, obviously. But very often it's a role that's underwritten, where the character has no personality at all. And they need a character actor who can fill it in.

I'm not a big fan of violent movies, it's not something I like to watch. And it's not my aim or goal to make a violent movie. My characters are very important, so when I'm trying to depict a certain character in my movie, if my character is violent, it will be expressed that way in the film. You cannot really deny what a character is about. To repeat, my movie end up becoming violent, but I don't start with the intent of making violent movies.

In 'Kalank,' I am playing a character, which is quite strong, quiet a little complex yet interesting, that drew me towards the character when I heard the narration from director Abhishek Varman.

Don't judge those who try and fail. Judge only those who fail to try.

Character is something each one of us must build for himself, out of the laws of God and nature, the examples of others, and - most of all - out of the trials and errors of daily life. Character is the total of thousands of small daily strivings to live up to the best that is in us. Character is the final decision to reject whatever is demeaning to oneself or to others and with confidence and honest to choose the right.

When you get to play a character that's in love, it's cool. Once you have love as a motivator in a story, your character is free to do anything.

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.

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.

...Intelligence and character of the masses are incomparably lower than the intelligence and character of the few who produce something valuable for the community.

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.

Undeniably, character does count for our citizens, out communities, and our Nation, and this week we celebrate the importance of character in our individual lives... core ethical values of trustworthiness, fairness, responsibility, caring, respect, and citizenship form the foundation of our democracy, our economy, and our society... Instilling sound character in our children is essential to maintaining the strength of our Nation into the 21st century.