Top 1200 Literary Characters Quotes & Sayings - Page 4

I have a huge emotional attachment to characters I've created, especially the viewpoint characters.

There are so many quirky characters, its easy to fall in love with any number of the characters on The Carrie Diaries.

I have a tendency as an actress in general to ground my characters. Even when doing outlandish characters, that's my instinct.

There are so many quirky characters, it's easy to fall in love with any number of the characters on 'The Carrie Diaries'.

I'm not a fan of gushing emotions. I think that probably shows in all of the characters I play. I try to reinterpret the characters in my style.

I never went to school wanting to play cute characters or girly characters.

I'm drawn to female characters, not all of them are strong characters. I think I'm drawn to female characters partly because they don't have as easy or as obvious a relationship to power in society, and so they suffer under social constraints or have to maneuver within them in ways men sometimes don't, or are unconscious about, or have certain liberties that are invisible to them.

I suppose I'm always looking for a sort of acuity of perception either in my characters or about my characters.

All the characters in my books are imagined, but all have a bit of who I am in them - much like the characters in your dreams are all formed by who you are.

I choose grey characters, as I enjoy playing a human character. I don't shy away from showing the shortcomings of my characters.

DC characters are from a different era than Marvel characters.

Normally, when you're working on something, there are other characters that you have alliances with, and you have unified goals with some characters.

Making a movie is about following characters and embarking on an adventure with them, seeing their reactions, and seeing what they do, having empathy for those characters, feeling for those characters, embarking on this adventure.

I really enjoy playing intelligent characters. I'm more interested in that than just emotional kind of Mum characters.

I prefer playing characters that are going through turmoil. Most movie characters are just in service to the story.

My favorite method of encryption is chunking revolutionary documents inside a mess of JPEG or MP3 code and emailing it off as an "image" or a "song." But besides functionality, code also possesses literary value. If we frame that code and read it through the lens of literary criticism, we will find that the past hundred years of modernist and postmodernist writing have demonstrated the artistic value of similar seemingly arbitrary arrangements of letters.

Conventions of generality and mathematical elegance may be just as much barriers to the attainment and diffusion of knowledge as may contentment with particularity and literary vagueness... It may well be that the slovenly and literary borderland between economics and sociology will be the most fruitful building ground during the years to come and that mathematical economics will remain too flawless in its perfection to be very fruitful.

When I do my job, I dive into these characters and try to flush something out of myself into these characters, and hopefully that translates well.

The most fun characters to work with are characters that are complicated.

I don't categorize characters into one syllable. These are fully-rounded characters that I don't judge; I just play them.

I don't see female characters as different or inferior to male characters.

These self-appointed deacons in the Church of Latter-Day American Literature seem to regard generosity (of words) with suspicion, texture with dislike, and any broad literary stroke with outright hate. The result is a strange and arid literary climate where a meaningless little fingernail paring like Nicholson Baker's Vox becomes an object of fascinated debate and dissection, and a truly ambitious American novel like Matthew's Heart of the Country is all but ignored.

We've had characters like Trump in American politics forever, characters who trade on xenophobia.

Characters are story. And any great plot or subplot is driven by the characters' wants and desires.

I don't find the characters I've played funny. The characters are actually taking their situations very seriously.

I do remember being a fan of the Marvel characters and not liking the DC characters at all.

I like to think of characters in relation to other cinematic characters.

Comic book characters are characters who wear costumes. They're not necessarily different than other characters. The trend I think that you're seeing are comic book movies, at least the ones that Marvel makes, don't have comic book stories. They have dramatic human stories.

I do not allow fan-fiction. The characters are copyrighted. It upsets me terribly to even think about fan-fiction with my characters. I advise my readers to write your own original stories with your own characters. It is absolutely essential that you respect my wishes.

I'm drawn to female characters; not all of them are strong characters.

In a sense, all actors are character actors, because we're all playing different characters. But a lot of the time - and I don't know, because I'm not a writer - but writers a lot of times write second- and third-tier characters better than they write primary characters. I guess they're more fun.

I never really thought about what characters I play. I always just wanted different characters.

All the characters in my books are imagined, but all have a bit of who I am in them - much like the characters in your dreams are all formed by who you are

I like to play very raw characters, characters who have a degree of vulnerability and passion about what they're doing.

I like my male characters as much my female characters, but I always seem to have less for them to say.

I don't think male characters are as one-dimensional as female characters.

What's the difference between Hollywood characters and my characters? Mine are real.

Characters do not change. Opinions alter, but characters are only developed.

I have had issues in the past with the characters and the limitations of the characters and the structure of the narratives given to me as a woman of color.

People come, people go – they’ll drift in and out of your life, almost like characters in a favorite book. When you finally close the cover, the characters have told their story and you start up again with another book, complete with new characters and adventures. Then you find yourself focusing on the new ones, not the ones from the past.

Every filmmaker has his own vision, and when they write a film or characters, they see certain people in those characters.

I write characters. Some of those characters are women.

I just want to keep finding special characters that I feel like I can bring to life and characters that are real and not superficial.

After Shakespeare, Dickens is the great creator of characters, multiple characters.

I've sort of dealt with the characters' lives more; particularly the women characters.

I definitely did not play myself. As the writer of the script, I have traits of all the characters. I can relate to all of the characters.

Normally, when youre working on something, there are other characters that you have alliances with, and you have unified goals with some characters.

What I always studied in screenwriting from my mentor John Glavin was that the most interesting characters are characters with shades of gray.

At first, like every other actor, I wanted to do characters with deep traits - what we call 'serious characters.'

What makes an audience watch something and care about the characters is the emotional life of the characters.

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

I'm a storyteller, I'm not a literary writer, and I don't want to be a literary writer. People say to me, "Oh, when are you going to write something different?" What? I don't want to write anything different. I'm writing relationships between people, all different colors, all different sizes, all different sexual orientations, and that's what I want to do.

When you are drawing characters to serve a plot purpose, you tend to get flat, stereotyped, unliving characters.

My characters - no, make that most characters - are seeking the shelter of narrative resolution, a place of quiet and grace.

I want to play characters that people relate to, characters that make different kinds of women in society feel represented.

I never used to kill characters, because I thought killing characters was cheating.

As an actor, I'm constantly striving to find the darkness in the lighter characters and the lightness in the darker characters.

I look at characters to see if they have some contrasts to play with; I think that's always what I'm looking for in characters: ones that have a wide range of expression.

I have been fortunate enough to be offered characters and projects that challenge me and that are different from the characters that I have played.

All characters come from people I know, but after the initial inspiration, I tend to modify the characters so they fit with the story.