Top 1200 Literary Characters Quotes & Sayings - Page 6

I dont categorize characters into one syllable. These are fully-rounded characters that I dont judge; I just play them.

I don't try to intellectualize characters too much. But I always think of the audience. I always make sure that my characters are likeable.

There is something really so iconic about the original Predator, and it is exciting. It's not just special effects. It's not like you bring a puppet in, these are characters and so we were involved in developing the look and the attitude of all the characters.

There are certain artists and filmmakers who, I get the impression, are trying to show off how bad their characters can be, how immoral their characters can be.

People think I'm thick because of the characters I play. I think I'm brighter than the characters. Well, I hope I am.

There are twenty-four characters in this book named Max. Let there be an end to this silly business of authors never giving their own names to characters in their novels. False modesty, faugh!

I don't start with the characters. I start with the series of events that will provide the conflict and how it can be resolved. Characters are incidental.

I have played Blair Cramer for 20 years, I feel a personal investment in the success of 'One Life to Live.' I love the show, I'm a fan of the characters, and I have invested in the journey these fictional characters have traveled.

Inventing characters is extraordinary: proper authors say so often that characters 'just appear' and that does happen. These people keep leaping out and saying, why don't you write about me?

The life story of the five main characters and the secondary characters around them allows Jonathan Franzen to present the full impetus and extent of the world picture of the West at the end of the 20th century.

I'm not saying I talk to cartoon characters all the time, but the characters are very real to me. In a very non-insane way.

I'm a mixed race lad from Liverpool. I get to play a lot of hard characters, and some people perceive that's what I'm like, but it's great for me 'cos they're always the most interesting characters.

Where are the flamboyant characters?! This is what America desperately needs right now! Flamboyant intellectual characters who can cut different ways. And, that's just what I'm missing.

I get very involved in my characters. Sometimes I have a very hard time separating my characters from my life.

Chairman Mao not only introduced Pinyin in China, but also simplified half the Chinese characters, believing that fewer strokes would enable more people to learn to write the characters.

Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. ... The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years.

I think, ultimately, if you create characters that people like and can relate to, your characters are grounded on a human level even if your cars are not.

When you look at all of the male characters on television and in film, it's not like every one of them are the people doing the right thing that you can point to as your own moral compass. We need to have all kinds of characters represented.

There are good characters and bad characters.

I think it's very hard to talk about these characters in a closed-ended, sort of non-sequel way, especially characters like The Flash and Green Lantern, which have such rich, long histories.

I love playing really strung out characters, and characters that are really pushed to their limits and losing their mind.

I get the feeling that characters are written female when they have to be, and all the other characters are male, and it doesn't occur to somebody that the lawyer, the best friend, the landlord, whoever, can be female.

When you're in sync with the director, on the type of movie you want to make, the arc of the characters, how the characters intertwine and interact, plotlines and story, and things like that, it really makes a difference.

Look at the Coen brothers. All their minor characters are as interesting as their protagonists. If the smaller characters are well-written, the whole world of the film becomes enriched. It's not the size of the thing, but the detail.

That's a long way of saying no, I'm always too bound up in thinking about the characters in whatever I'm working on and trying to make good to dwell on characters from previous books.

I populated 'The Bourne Identity' with real characters from American history, specifically characters from the Iran-Contra affair, which my father ran the investigation of. But at the heart of it was a fictional character.

People relate to my characters and see me in a different way. They identify with me and remember the nuances of my characters.

The new "ambiguity" means, in a way adjudged favorable to literary, poetic, intellectually and psychologically well-devised and praiseworthily executed linguistic performance, uncertainty of meaning, or difficulty for the interpreter in identifying just what the meaning in question is: it means the old meanings of ambiguity with a difference. It means uncertainty of meaning (of a word or combination of words) purposefully incorporated in a literary composition for the attainment of the utmost possible variety of meaning-play compressible within the verbal limits of the composition.

I think that I write much more naturally about characters in solitude than characters interacting with others. My natural inclination - and one that I've learned to push against - is to give primacy to a character's interior world. Over the three books that I've written, I've had to teach myself that not every feeling needs to be described and that often the most impactful writing more elegantly evokes those unnamed feelings through the way characters speak and behave.

I'm very drawn to characters who are very flawed. I'm less interested in characters who are just good or bad, because to me then they're not real people.

I like to play non-cardboard characters. I try and bring out the many complex layers in the personality of the characters I play.

I really do believe that people surprise you. And one of the powerful things about novels is that they're about characters, and those characters live their lives.

Try to get your characters into interesting trouble. Allow your characters to misbehave. Let them stay out after 11.

We have to give our poor, innocent, and undeserving-of-our-badness characters trouble in order to make them characters in a story.

I think every writer will tell you that their characters are always partially themselves: who I am and what I've experienced. It's always there in part of my characters.

Drama comes from characters changing. If characters stay the same and nothing changes, there's really nothing to look at.

I always try to get as personal as I can with the characters that I play, which is a reason why I don't play a lot of characters.

When we create female characters, I think often there is a tendency to kind of make female characters emotionally bulletproof.

There are some characters in 'The Names' who are very much heroes and others who can only be called villains. But generally, as we get to know them, we see most of the characters are, or at least become, quite nuanced.

I love flawed characters, male or female, and I only want to talk about flawed characters, really, in what I do.

Disney has a bible for their characters, so that people who draw Disney characters have to make them look correct.

Theater people say you are either a comedian or a tragedian, and I'm a tragedian. And the vexing, dark characters, the ones where I don't understand their pain or their anguish, they are the characters that appeal to me.

We are all potentially characters in a novel--with the difference that characters in a novel really get to live their lives to the full.

It's necessary to track characters all the way through an opera. If you're dealing with more than one or two characters, it's very easy to forget that the others have lives of their own that feed into the story.

The established characters are easy to recall. I don't know why, but they come back to me instantly when I need them. It's the one-time-only characters that I don't remember where the voice I used came from.

One of the reasons I never had a problem handing over my characters to other creators is that I knew that they would add their own influences and takes on the characters and make them better for it.

I love liminal characters. I love these characters that are outside and enter and consequently are perpetually outsiders, and who hold themselves to a higher standard.

When I'm creating characters, I just want to create characters that I can relate to, and be as honest about them as people as I can be. That's what I want to see when I go to the movies.

The amplification of our diverse literary voices is a political act of resistance. Our lives are important, too. Our lives should be represented in our literature. And that literature is vital, compelling, and accessible. That literature deserves to be disseminated and noticed and available. And with respect to the dissemination and promotion of diverse voices - librarians, educators, and editors of literary journals play such an important role. They deserve not only a hearty shout out, but also our thanks and support.

When I imagine feminine characters in my songs, they're often bold, strong, passionate, militant, witty, sensual, dangerous. I see those characters as skillful witnesses, figures of change and awakening.

And as much as I love the gritty characters, I like to play all sorts of characters. I'm an actor. I love to create.

Every few seconds a new book sees the light of day. Most of them will just be a part of the hum that makes us hard of hearing. Even the book is becoming an instrument of forgetting. A truly literary work comes into being as its creator's cry of protest against the forgetting that looms over him, over his predecessors and his contemporaries alike, and over his time, and the language he speaks. A literary work is something that defies death.

I don't really base any of my characters on specific people that I know, although my characters are informed by the kind of people who live in my community.

Grey characters don't only mean broody characters. A totally smitten lover boy can be equally grey if written that way.

I've shied away from playing Asian characters. if you look back, I'm playing characters that have no relevance to my ethnicity.

When I look at my body of work, I've played a lot of characters who are morally conflicted - 'I'm right, no I'm wrong, I don't know what to do!' I want to play more characters who don't care as much, and who aren't as measured. They are what they are, no apologies.

To me, truth is the big thing. Constantly you're writing something and you get to a place where your characters could go this way or that and I just can't lie. The characters have gotta be true to themselves.

The fact that I like to make characters doesn't mean that I like to watch my characters being made, my performance.

I'm such a fan of Deadwood. I love the characters in that. They're such wonderful characters. I'm a fan of The Wire. Those are all heavily character-based shows.

I call it an ensemble cast or the world of 'Gulabo Sitabo' which is about the lifestyle of my characters. I just go and sit there in a corner and observe these characters through my camera. That's how I shot the film.