Top 1200 Main Character Quotes & Sayings - Page 3

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.

It's not most important to communicate myself on stage as it is to be as funny or interesting as I possibly can on stage. I feel more like I'm doing a play whose main character just happens to share my name.

But when you read books you almost feel like you're out there in the world. Like you're going on this adventure right with the main character. At least, that's the way I do it. It's actually not that bad. Even if it is mad nerdy.

On reading the first part of Anthony Powell's four-part masterpiece, 'A Dance to the Music of Time,' I was struck by one of the characters - an irritating peripheral character- who keeps showing up in the main protagonist's life.

Jin-hyung had a lot of cool parts in 'Fake Love.' Jin-hyung is the main character.

I think ultimately one would say that the most difficult part of the Perfume: The Story Of A Murderer is the balancing of the main character. To get him being so ambivalent in his whole conception.

Even as I was writing 'Empire State,' I knew there were more adventures for the main character, private detective Rad Bradley, to have. I also knew that the world was far larger than what I'd presented in book one.

The main thing is just doing my job the best I can to help my squad out. That's my main goal.

I'm often asked where my nickname 'Kun' comes from. My parents says it was a Japanese cartoon I used to watch on television when I was very young, set in the Stone Age, where the main character was a boy called Kum Kum, the little caveman.

I called my show 'Power' because, for me, the whole series is about the way my main character, Ghost, is power-less over his circumstances, even though he has almost endless access to money and guns.

Obviously, being WWE Champion was my main goal in life, but when I started acting, the main thing I wanted to do was play a superhero or supervillain.

Reputation is seeming; character is being. Reputation is manufactured; character is grown. Reputation is your photograph; There is a vast difference between character and reputation. Reputation is what men think we are; character is what God knows us to be. Reputation is seeming; character is being. Reputation is the breath of men; character is the inbreathing of the eternal God. One may for a time have a good reputation and a bad character, or the reverse ; but not for long.

When I work on a movie, I look at the script or watch the film, and I talk to my director or producers and make a plan: this is our main character; we need a theme for this plot. We need a love theme.

For my second novel, The Apothecary's Daughter, my editor encouraged me to think of another unusual profession for a woman to have. That led to the main character, Lilly Haswell, who finds herself doing the work of an apothecary at a time when it was illegal for women to do so.

The main thing about improvising is listening so if something happens that wasn't expected and you know your character, you know what has to happen in this scene, you can react to that in a way that's honest and it might take you in a different direction to go to the same place.

'100 Bullets' is a novel on its own. 'Brother Lono,' other than the main character, has nothing to do with '100 Bullets.'

In Shakespearean tragedy the main source of the convulsion which produces suffering and death is never good: good contributes to this convulsion only from its tragic implication with its opposite in one and the same character.

One of the main coaching points I've heard throughout my entire life is, 'How you respond to difficult situations defines your character,' and I think it's a good saying. I also think it applies to more than just the players.

I love the idea of seeing a character - I mean, there's nothing like seeing a character and having the huge detail and roundness that a character in a book can give you. It's so much more full than a character in a script can give you, isn't it?

I do think that in the near future, if it hasn't happened already, people will be able to use technology to design their own novels, perhaps with individuals themselves as the main character. In other words, everything is being individualized and narrowed.

I don't want to work just for the sake of working. Generally, if a good script comes in, I read it, and if it appeals to me, it appeals to me. And it doesn't have to be anything - it doesn't have to be the main character; it doesn't have to be a huge part.

We dreamt of that as kids growing up. Like, main eventing, being world champion, walking down that aisle at WrestleMania as the last match, as the main event, as the headliner.

I want to become a main player, a main-eventer, a headliner - whatever. I have all that's needed to do that.

Wise is the man who does not disdain any character and instead, examining him with a searching look, plumbs him to the very main-springs of his being.

[The main character] is in a forever-growing process. I feel the movie [everybody Loves Somebody] did that very well and not finishing off as "a woman's life ends when she finds the right guy".

Personally, I believe “Young Adult” to be an arbitrary title that means the book "Can be enjoyed by anyone/Has a main character who’s not quite an adult/Isn’t really boring.

Sometimes female characters start out as the wife or girlfriend, but then I realize, 'No, she's the book,' and she becomes a main character. I surrender the book to her.

For me, the main inspiration to write a story or novel is the voice of its central character, or the narrative voice of the story itself.

When I think about myself as a teenager going to festivals, you look to the main stage as the main entertainment of the night.

Working on 'Nightmare Before Christmas,' I had endless arguments, like the studio saying, 'You can't have a main character that's got no eyeballs!' 'How is anybody going to feel for somebody with just eyesockets?' You know? So, it's those kind of things that really wear you down.

I feel like when you're dealing with your main character, it has to be relatable and feel grounded, and that's the kind of acting I like to do anyway.

I've always loved pinup art, and I've always enjoyed drawing women. I think it was a conscious decision that has resulted in me getting almost exclusive work on comics where the main character is female.

I first heard the term "meta-novel" at a writer's conference in Tulsa, Oklahoma. The idea is that even though each book in a series stands alone, when read collectively they form one big ongoing novel about the main character. Each book represents its own arc: in book one of the series we meet the character and establish a meta-goal that will carry him through further books, in book two that meta-goal is tested, in book three - you get the picture.

Real religion is about, developing real character; character of compassion, character of humility, the character of determination to grow in all circumstances.

Protein has been intensely over-represented on the plate. Now, the garden should be the main drag for main courses.

I would love to play a main character and then play different characters as well. I would want for it to be a sitcom, multicamera, audience - that's definitely a dream. It's in the works, so... it's closer than everybody thinks it is.

Allowing alternative narrative modes in popular entertainment may seem obvious, yet when you turn a pilot into the people upstairs and the main character isn't after what she wants by the top of page two, you get treated as if you've failed at writing.

The big insight that I have, not so much from writing 'Red Notice' but from living as the main character of 'Red Notice', is that Russia was and is a criminal state unlike any other sovereign country.

There are stereotypes that have been out there for a long time that tell girls that their main asset, the main thing that they are valued for, is their appearance and also that it's to the exclusion of anything else.

Any show that kind of relish the damage of its main character without really investigating what that damage does, where it's from or what it means, is a show I think needs to be taken down a peg.

With musical theatre, although there are rules, they're so different to the ones I feel like I have accidentally been ingrained with writing pop music. The main point is to tell the story. You just have to make sure the character's voice is strong and the storytelling is strong.

A woman can be demure, lady-like and the most prim and proper character, and still have a toughness and resiliency as apparent as a superhero-type female character or a warrior or soldier type. It's all about the story, the character, and the course of events in that piece of work and how that character is presented.

I would say the main thing is, don't just copy yourself, which is what a lot of sequels do. And in some cases, it works. Like James Bond movies. But James Bond is a different type of character.

When you are writing, you have to love all your characters. If you're writing something from a minor character's point of view, you really need to stop and say the purpose of this character isn't to be somebody's sidekick or to come in and put the horse in the stable. The purpose of this character is you're getting a little window into that character's life and that character's day. You have to write them as if they're not a minor character, because they do have their own things going on.

If you're writing a book that takes place in New York in the moment, you can't not write about 9-11; you can't not integrate it. My main character's view is the Statue of Liberty and the Trade Center. It doesn't have to take over, but it has to be acknowledged.

When I was just starting out, I had two choices: I could be the beautiful girl on the main man's arm as decoration, or I would have to do a little independent movie to get any depth in the female character.

Herein lies the main objective of portraiture and also its main difficulty. The photographer probes for the innermost. The lens sees only the surface... .

In 2018, according to the Children's Cooperative Book Center at the University of Wisconsin's School of Education, fewer than a third of all children's and young adult books in the United States featured a person of color as a main character.

One of the great myths in America is that sports build character. They can and they should. Indeed, sports may be the perfect venue in which to build character. But sports don't build character unless a coach possesses character and intentionally teaches it. Sports can team with ethics and character and spirituality; virtuous coaching can integrate the body with the heart, the mind, and the soul.

It is a work of psychogeography, albeit in a less explicit sense than Iain Sinclair's or Will Self's. It had to be fiction though, because I needed that freedom of including whatever belonged, and cutting out whatever didn't. The main fiction in it was matching Julius' generous and self-concealing character to New York's generous and self-concealing character. I think this also adds to my answer about New York's personality in the book.

Writing a new film about cereal killers. Not serial killers, cereal killers. The main character can eat two, three boxes at a time.

I guess the passion I have for cinema is as strong as the one that I have for music. And I've always tried to be a character in the film, not just a composer that throws his music to the film. That's the main element that connects me with directors.

The other main difference between film and television is that you have the opportunity to flush out a character, over a longer period of time. Whereas with a film, you're confined to two or three hours, or whatever it may be.

I can remember back to when I was 12, 13, and any show that I watched, I wanted to be the main character and embody them, and I think the fact that Sabrina is, in so many ways, such a positive role model for young girls is really cool.

I used my daughter's crayons for each main character. One end of the wallpaper was the beginning of the story, and the other end was the end, and then there was all that middle part, which was the middle.

By the time a writer comes onto a project (if they're being hired as a contractor) the main character has usually been designed, as that's always done during a project's pitching stage.

What is the character trying to say? Why? Be as specific as you can, using sense images that evoke something about the character. Try using the character's senses, even if the character is you.

But my main thing that I would love to see as a fan of 'Glee,' like I said, is to really get into the character and who they are and what they do outside of school. I think that that's interesting. And then of course the themed stuff and the album episodes are all really cool too.

With a film, things constantly have to go up in the story, and you're constantly putting pressure on the main character. It allows to go really deep into what its relationship is.

I wouldn't think of my characters' moralities at all. And I think I identify fully with every main character I've written about and would say that I am them pretty much. So in terms of that I don't think I'm similar to Bret Easton Ellis .