Top 1200 Lead Characters Quotes & Sayings - Page 3

Well, not everyone wants to lead the kind of life I lead.

Lead me from death to life, from falsehood to truth; Lead me from despair to hope, from fear to trust; Lead me from hate to love, from war to peace; Let peace fill our heart, our world, our universe

You cannot lead others until you have first learned to lead yourself.

Of course I want to lead [Tory] party. Of course I want to lead this party in order to put forward an alternative and lead this party to win the election as soon as it comes.

I couldn't possibly lead the kind of life I lead, and keep the schedule that I do, having radiation or chemotherapy.

Being on a show with a female lead is amazing for me. I love that. I love the powerful woman who's complicated. There's no push to be one thing or another thing. It's all human. That's what you look for as an actor: characters written and portrayed in the most human way possible.

All men are created to lead, but we need somebody to lead us.

The only valid test of leadership is the ability to lead, and lead vigorously.

I walk down the street and people don't go, 'My God, there he is.' I lead as normal a life as you can lead in New York City.

Brexit is the other face of the refugee crisis - tensions that lead to stasis, external risks that lead to asymmetric shocks.

I like complex characters. I've been very, very lucky to portray, in these past three years, characters that are strong and fragile at the same time. It's those characters that I'm looking for. In the last year and half I played three different religions, and that allowed me to educate myself so much.

Know what you value, be willing to take a risk, and lead from the heart - lead from what you believe in.

Postal will be so politically incorrect and harsh, it's like a mirror to American society, and I don't think the movie will be well received by everybody. For example, Osama Bin Laden will be one of the lead characters - I think that shows the mood of the movie.

I want characters to have voices that feel authentic, unique, honest, fresh and original - all at once. Part of that authenticity is evoking genuine emotion across life - the sadness, passion, love, sense of loss, missed opportunities, and confusion even. All of this helps us realize that our choices do impact the lives that we eventually lead.

A lot of times I think the cast members, the lead characters in a show really set the tone for the show. On some shows, the stars of the show will just be whining and complaining and spending the whole time texting their boyfriends on their Blackberries, and there's just no attention given to the work.

I know you define leads by goals having the lead, but we never really had the lead.

My mother saw a movie when she was 14 years old. I forget the name of the movie, but one of the lead characters was named Lark. She decided then she would name me and she stuck to it, and here I am.

I actually don't like saying 'lead character,' which is an interesting thing. If you say there's a lead, then there has to be someone to follow.

Career success means making enough money to lead the kind of life you would like to lead as a practicing Buddhist.

When it comes to writing characters, whether men or women, I think a good writer writes good characters. I know many men who, for years, have written strong, progressive women characters.

If you lose, you can't lead. If you don't lead, you're irrelevant. Winning is what it's all about in politics.

There's a remarkable amount of sexism on TV. When male characters are flawed, they're interesting, deep and complex. But when female characters are flawed, they're just a mess. It's good to put more flawed but interesting female characters out there because it promotes equality.

I think it's good to tell the fans "this movie's going to lead to that, and that will lead to..."

In general, I think writing characters, no one is 100 percent good or bad, and certainly, the bad characters never think they're bad themselves. Even the worst characters don't feel like they're bad guys on the inside.

Drugs are not the way to the light. They won't lead to a fairy-tale life, they lead to suffering.

There were so few examples of Asian or Asian-American lead characters on American TV or even in the movies. And the ones that have existed for so long were either stereotypical or offensive in some way, or just not reflective of the lives of people in the community.

To add growth, lead followers - to multiply, lead leaders.

When you pray, God puts people in your life to lead you when you cannot lead yourself.

My characters surprise me constantly. My characters are like my friends - I can give them advice, but they don't have to take it. If your characters are real, then they surprise you, just like real people.

'Dhol' has me in the second lead. But I wish to upgrade to playing lead roles and want to be in the league of respected actresses of the industry.

If you want to lead a family/team/organization, learn to lead/manage yourself first.

I think at some level, it's just alchemy that we, as writers, can't explain when we write the characters. I don't set out to create the characters - they're not, to me, collections of quirks that I can put together. I discover the characters, instead. I usually go through a standard set of interview questions with the character in the beginning and ask the vital stuff: What's important to you? What do you love? Hate? Fear? .. and then I know where to start. But the characters just grow on their own, at a certain point. And start surprising me.

To me, feminism in literature deals with the female characters being in some way central to the thematic concerns of the book, or that they are agents of change to some degree. In other words, the lens is focused deeply and intensely on the female characters and doesn't waver, which allows for a glimpse into the rich inner lives of the characters.

I persist on praising not the life I lead, but that which I ought to lead. I follow it at a mighty distance, crawling

I have stopped looking at roles as lead or parallel lead. Also, I feel these are very misleading terms.

I've never had any illusions about being a lead actor in films, because lead actors have to be of a certain kind.

The American horror movies are more moralistic, they have not only good characters, but characters where the ultimate danger is death. What I like about European cinema is they have another sense of what's good, what's bad, and sometimes all the characters are far more complex than just that. It's less binary, the Giallo genre.

I don't lead you and you must not lead me too, but we have each other, go forward together as brothers and sisters.

He who can lead you to believe an absurdity can lead you to commit an atrocity.

In terms of my relationships with a lot of the adult characters, when I was working with Harrison, it wasn't like a verbal agreement, but we both understood that because there was this constant tension between our characters, we couldn't say "Cut" and start acting normal. We had to keep an essence of that relationship in our characters off screen which is really important.

When writers are self-conscious about themselves as writers they often keep a great distance from their characters, sounding as if they were writing encyclopedia entries instead of stories. Their hesitancy about physical and psychological intimacy can be a barrier to vital fiction. Conversely, a narration that makes readers hear the characters' heavy breathing and smell their emotional anguish diminishes distance. Readers feel so close to the characters that, for those magical moments, they become those characters.

If you're stuck at piano and you're not a lead guitarist or a lead vocalist, you're kind of at a nine-foot plank then and you should do something about it.

Chris Paul, president of the NBA Players Association, can lead an entire league but can't lead his team when it really counts.

I have always liked kind of outsider characters. In the movies I grew up liking, you had more complicated characters. I don't mean that in a way that makes us better or anything. I just seem to like characters who don't really fit into. You always hear that from the studio: "You have to be able to root for them, they have to be likeable, and the audience has to be able to see themselves in the characters." I feel that's not necessarily true. As long as the character has some type of goal or outlook on the world, or perspective, you can follow that story.

The supporting characters typically carry less story/plot weight - so you can be more broad and pushed with them. Supporting characters also take up less of the film's screen time. A short is a great opportunity for supporting characters to shine.

Lead, kindly light, amid the encircling gloom, lead thou me on.

Rich relationships lead to much more than money. They lead to success, fulfillment, and wealth.

Companies are not lead by a single person; they're lead by a group of individuals collectively making good decisions on behalf of the company.

Learn to lead in a nourishing manner. Learn to lead without being possessive. Learn to be helpful without taking the credit. Learn to lead without coercion.

My characters surprise me constantly. My characters are like my friends - I can give them advice, but they don't have to take it. If your characters are real, then they surprise you, just like real people

We found ourselves believing or allowing ourselves to believe what our industries told us, which is lead helps to guard your health was one of the ads that appeared in the 1920s. Lead takes place in modern games, lead is part of our everyday life, all these ads and propaganda that came out of the very time when physicians and public health workers and reports were appearing of children around the country who were literally at that point dying and going into convulsions because lead was poisoning them.

The thought of the novelist lies not in the remarks of his characters or even in their introspection but in the plight he has invented for his characters - in the juxtaposition of those characters and in the lifelike ramifications of the ensemble they make: their density, their substantiality, their lived existence actualized in all its nuanced particulars, is in fact his thought metabolized.

When a person tries to act in accordance with his conscience, when he tries to speak the truth, when he tries to behave like a citizen, even in conditions where citizenship is degraded, it won't necessarily lead anywhere, but it might. There's one thing, however, that will never lead anywhere, and that is speculating that such behavior will lead somewhere.

A lot of companies talk about letting creative lead, but Chanel actually does let it lead.

I've read crime fiction all my life. A thing that's bothered me about crime fiction is that it's generally about one or two people, but there's not much about society. I want to get away from that particular pattern: a lead, a supporting role and backdrop characters.

I like shows where the female characters are as funny as the male characters, not just commenting on how funny the male characters are.

In a play, a few actors perform a few characters, and they need to perform those characters with a certain level of believability so that audiences can actually understand and see them as those characters.

I've tried to be inclusive in my '2B' series. Over the course of three books, I wrote African-American characters, a paraplegic character, gay and lesbian characters, a bisexual, Jewish heroine, a multiracial hero, Korean and Chinese-American characters, and a multiracial supporting character.

A totally blind process can by definition lead to anything; it can even lead to vision itself.

You can lead a horse to water, but a pencil must be lead.