Top 1200 Lead Characters Quotes & Sayings

All that matters to me as a reader are characters. I want characters to be real, authentic, and rounded. I will be digging into characters for at least a month. Who they are. What they are like. Outside of the story.

Women are always murdered and maimed, and they’re never given their rightful place as lead characters! And I think [creator Michael Hirst] has just written what should have been written a long time ago. There shouldn’t be anything that different about Vikings, but there is, because there’ve just been so many shows that have not stepped up to the plate and given female actors and female characters equal footing.

It's often the death of the show when you break the tension and the two lead characters get together.

I had played many gay characters before, but they were finite - guest characters in TV shows or characters in plays.

In my books, I never portray violence as a reasonable solution to a problem. If the lead characters in the story are driven to it, it's at the extreme end of their experience.

I feel I have been playing all primary characters. And if your character forms a connect with the audience, it doesn't matter if you are playing only the main solo lead or a second lead.

I think that's part of the fun for us: we love looking at movies through the filter of a specific character - characters who aren't the lead - and figuring out the film from their point of view.

I need to get lost and sometimes my characters lead me to places I don't expect to go.

We are going to lead once again by being the best. We're gonna lead economically. We're gonna lead technologically. We're gonna go back to the Moon, we're gonna do whatever we're gonna do. We are going to lead by engaging in American exceptionalism and this is going to inspire others to come along with us. We're not shrinking away from anybody. We are reengaging. That's what Trump is, and that's what Democrats don't see.

One of the things that I've been trying to do with my characters, one of the things that does lead to me turning things down, is I don't really want to repeat myself.

Inexperienced leaders are quick to lead before knowing anything about the people they intend to lead. But mature leaders listen, learn and then lead.

Greg Rucka always writes lovely, believable female characters in books like 'Whiteout,' 'Queen and Country,' and 'Lazarus.' I am a fan of Kelly Sue DeConnick, who does a wonderful female lead in 'Captain Marvel.' And DC's 'Batwoman' is currently the only book at the Big Two with a lesbian solo lead character, and it's always outstanding.

Writing has made me rich-not in money but in a couple hundred characters out there, whose pursuits and anguish and triumphs I've shared. I am unspeakably grateful at the life I have come to lead.

'Orphan Black' allows for people to have debates and theories and allegiances to different characters; to trust characters and hate other characters, but it doesn't tell you who is good or bad or right or wrong. That's the most exciting storytelling in my book.

I am certainly proud to add 'Korra' to the pantheon of TV characters, which is perpetually sorely lacking in multifaceted female characters who aren't sidekicks, subordinates or mere trophies for male characters.

I'm portraying out characters, I'm portraying femme characters, characters that are really outside of the box. I never thought I would get that opportunity to portray those characters at all, much less have a career that I have.

I would not be a Moses to lead you into the Promised Land, because if I could lead you into it, someone else could lead you out of it.

Having transgender characters leads to more visibility, which creates education. Education can hopefully lead to everyone treating our community with acceptance and love.

It's funny what [producer Richard Zanuck said about even though you can't quite place when the book or the story came into your life, and I do vaguely remember roughly five years old reading versions of Alice in Wonderland, but the thing is the characters. You always know the characters. Everyone knows the characters and they're very well-defined characters, which I always thought was fascinating. Most people who haven't read the book definitely know the characters and reference them.

Women perform great in the box office. Audiences want to see lead female characters.

The challenges for the writer included deciding which secrets were most important, how many secrets revealed were too many, which characters should know which information when, and how the revelations would impact the rest of the family. All of those questions eventually lead back to one: What's at the heart of this book? Where does it want to focus, or toward what does it want to lead us?

The funniest things just come from honesty. We have a tendency to see female characters as representative of something larger than what they are, when male characters are just characters.

I'm an actor. I have to play weird characters, quirky characters, strange characters, sometimes characters I don't understand.

Nobody knew if the pilot would even get picked up because it had two gay lead characters, which has never happened before. And now every show has at least two gay characters, if not many more.

Everybody is an actor, whether you play the main lead or one of the supporting characters.

What I discovered is I don't like to repeat lead characters because one of the most pleasurable things in a book to me is learning about the lead.

The nature of acting is that one is many characters and jumps from one skin to another as a way of life. Sometimes it's hard to know exactly what all of your characters think at the same time. Sometimes one of my characters overrules one of my other characters. I'm trying to get them all to harmonize. It's a hell of a job. It's like driving a coach.

One of the most interesting female characters I've written about was Meg Riddoch, the lead character in 'The Thompson Gunner'.

Queer black characters have been the sidekick for long enough. It's time for us to finally take the lead.

Usually, I like to play sophisticated-looking characters. I want to do 'Godfather'-like characters. Given my voice and style, such characters will be apt for me.

The most important thing in a love story for me is the intensity and passion that my lead actors bring into playing their characters.

Slowly, ideas lead to ideology, lead to policies that lead to actions.

I think it's definitely beneficial for these characters to have good acting voices behind them and it affects the characters in a way that people can feel like they're part of the game and that they know these characters.

I know, we can barely fit them in. That is a big challenge. Treating four lead characters equally, within a 30-minute format, is definitely challenging.

Shows should just be able to be shows without hyphenating their lead characters.

In my journey, I got amazing characters to play which were as interesting as a lead role. In 'Commando,' my role was so good. I feel no actor have rejected that kind of a role.

There is no necessary connection between the desire to lead and the ability to lead, and even less the ability to lead somewhere that will be to the advantage of the led.

I'm always trying to get my characters to the point of complete rebelliousness. I like that attitude that characters feel when they own their lives. There's something beautiful in the moments when characters disobey.

I may have a story idea but everything starts moving when I am able to see my characters clearly. They then organically lead or respond to the story or the universe I want to create.

People like stories that are bigger than life, about characters with unusual powers. And when you get all the characters in the zodiac, it's so colorful, and it's so rich in different attitudes that the characters have.

Water from clay pipes is much more wholesome than that which is conducted through lead pipes, because lead is found to be harmful for the reason that white lead is derived from it, and this is said to be hurtful to the human system.

If you want to believe in the fantasy on screen, then you have to believe in the characters and use them as a stepping-stone to lead you into this fantasy world.

Leadership belongs to all of us. I'm a big believer in John Maxwell, a leadership speaker and author, who talks about the 360-degree leader. Before leading others, you have to learn to lead yourself. Wherever you work in an organization you have to learn to lead up, lead down, and lead side to side. Leadership belongs to all of us. You have to see yourself, and believe in yourself in the way that we are talking about here to give to those that you lead.

One of my favourite films is called 'Lacombe Lucien,' directed by Louis Malle. The lead character in that film, like the lead characters in many '70s and '80s films, has a moral ambiguity to him.

I don't set out to write female lead shows, necessarily. I like deeply flawed characters. When they come to me, or when I'm introduced to them, I follow the stories and the people, rather than setting out to do a female lead thing.

Labour needs to lead - lead on Brexit, lead in Europe, lead for the people.

To be honest, I don't think of any of my characters as minor characters - they're all the main characters in a story that I don't necessarily get to tell.

I liked 35 and in both my novels that is the age of the lead characters. I tried making them my age but they just seemed to keep moaning about stuff.

The problem with labels is that they lead to stereotypes and stereotypes lead to generalizations and generalizations lead to assumptions and assumptions lead back to stereotypes. It’s a vicious cycle, and after you go around and around a bunch of times you end up believing that all vegans only eat cabbage and all gay people love musicals.

We need more of those characters that lead by example for people coming up next to us.

You're not going to look at Paul and see him slacking, not carrying his weight. All the other stuff, 'Paul doesn't lead' and all that? That's fine. Go grab guys that lead, then. Let me help them lead.

For an author, the nice characters aren't much fun. What you want are the screwed up characters. You know, the characters that are constantly wondering if what they are doing is the right thing, characters that are not only screwed up but are self-tapping screws. They're doing it for themselves.

I would love for people to think that I am as quick, clever, smart and heroic as the characters that I write, but those characters are characters.

As an Asian guy, I would love to see a big blockbuster with Asian lead characters.

'Orphan Black' allows for people to have debates and theories and allegiances to different characters - to trust characters and hate other characters - but it doesn't tell you who is good or bad or right or wrong. That's the most exciting storytelling, in my book.

I think it's so trite to say you have lead characters. It's like someone saying I'm the lead in my life.

Otherness is a big thing for me. I'm always drawn to characters that live lives that I couldn't lead.

The most interesting thing to me is that 'The Walking Dead' is a show that reinvents itself every eight episodes. It's an evolving landscape. There are characters that die. There are characters that stay on. There are characters that go away. I love that.

Even though 'Luck By Chance' is set in the film industry, the lead characters are people you know and see, but they are not your friends.

Also, it's risky to try to duplicate earlier success. Magician had a certain charm to it, mostly due to my choice of lead characters, that I would be hard put to duplicate.