Top 1200 Minor Characters Quotes & Sayings - Page 10

It's hard to know whether certain characters come to life or not, they either come to have their own life or they don't. I've written many things in which the characters just remain inert.

To play different characters on a TV show where you're working every day, playing multiple characters every day, it's so ridiculously intense.

I like straightforward names for my characters. When I get too symbolic with names or places, I start feeling like the characters and the story are less read, and I lose interest.

I think that I've always been attracted to characters who are positive and come from a very innocent place. I think there's a lot of room for discovery in these characters, and that's something I always have fun playing.

There are no characters in the limited series Fargo that are derived from the characters in the film Fargo. It's hard to describe how remarkably true to the film the show is.

I'm really into, like, characters - music characters like Sid Vicious and Kurt Cobain - just, like, how they are and stuff. Like Lil Wayne.

All of the characters in my films, they share one commonality. It doesn't matter whether they are good or bad, it doesn't matter whether they are smart or stupid, these characters all take responsibility for their own behavior. I'm much the same.

I really love idiot, enlightened characters - these characters who fail to engage with the drama of their immediate circumstances; they fail to be reactive and enrolled by drama as it happens around them.

Characters are incredibly important, but I tend to build them around the plot during the outline stage. However, once I'm writing the manuscript, the characters I'm writing dictate how the plot unfolds.

One of the things that I like about 'Narcos' is that not only Pablo but with all the characters - this is not a black and white show. This is not a regular American cop show where two cool cops go to save a country from a bad guy. All the characters are very complex.

A lot of readers want characters to behave in a responsible way, or they want to understand the characters' dilemma and act, in a way, on their behalf.

If I hadn't left South Africa, I felt I was at risk of being pigeonholed. I looked around and saw actors who, 10 to 15 years into their careers, were still playing stereotypical Afrikaans characters, stereotyped Indian characters. That was not something that I wanted for myself.

I live intimately with my characters before starting a book. I cut out pictures of them for my wall. I do time lines for each major character and a time line for the entire novel: What is going on in the world as my characters struggle with their problems?

Throughout history, Hanukkah was a relatively minor festival, but it's become very popular in America due to its proximity to Christmas.

When I'm writing a novel, one of the things I do is get big poster boards. They're actually canvases that artists use. And I keep all the characters' names on them. If you write a big novel, there's a lot of characters.

People say that to me and I think what unites all my characters is that they are hurt; it's most accurate to say I play characters that are hurt but are responding to their environment.

There are times that you have a plot in your head, but then you find that the characters don't want to do that. When you're looking at the story from the outside, you can create whatever twists and turns you want. But when you're writing, you're inside the characters' heads, and you see that they may be motivated to do something different.

I don't consider myself a competition to anyone. There is ample space for everyone here. When there are directors who create characters for me, why should I feel bothered or insecure? When it comes to updating myself, I work very hard to relate to the emotions of characters I play.

As fame becomes more democratized, we might all have to start struggling with the powers, anxieties, and responsibilities of being a minor celeb.

The most important thing for me in an action sequence is, you understand the characters' intention and the challenges the characters are going to have to face: what the character story is within the action sequence.

I'm attracted to stories that excite my imagination, stories that, as I'm reading the script, I feel it, I can see it, I can hear the characters. I'm attracted to characters that are real, that tap into something inside me that I haven't explored yet.

I still carry it with me that I'm a I-AA guy and I had to go down to the minor leagues in college football and prove who I was.

Damita Jo. Jo. That's my middle name. It's let in about the different characters that live within me. They say we have 200 characters that we portray with different people.

I like to hear and smell the countryside, the land that my characters inhabit. I don’t want these characters to step off the page, I want them to step out of the landscape.

My characters are usually composites. I wish I could pretend that I make up all of these characters, but no. I steal from people. But people will say to me, "Oh, that's me!" and I'm thinking, no, that's not you!

But overall I've always learned to play well in the sandbox with the people I'm working with. I think that's my minor-league training.

I enjoy playing a quintessential antihero. There's something therapeutic about playing such characters. I know it sounds corny but I feel like I learn about myself when I play that characters.

I'd like to work more, but I don't just want to do kind of generic characters. I want to do interesting characters, and I'd like to be cast against type.

One of the things I'm concerned about is that I really want to make sure the races of all the characters are kept. I don't like it when black characters become white in movies, or things like that.

I was not naturally talented. I didn't sing, dance or act, though working around that minor detail made me inventive.

I'm attracted to films that have strong female characters because there are strong female characters in my life. That's my own reality, so it's a doorway into a world for me.

I like movies about people and movies with characters; that's what I'm drawn to as a person who likes to create these characters within the story, but I like it all, really.

Your characters are always your children. And while you are writing, you're keeping them safe. Now they're ready to go into the world and it's sad. I'm happy with the way the novel came out but all the characters' ending really saddened me.

'The Beautiful Things that Heaven Bears' is very much about America - it just happens to have African and Ethiopian characters, and in fact, it happens to have more characters who are not Ethiopian than who are.

Lots of times when you watch anime, the characters all have white skin - all the characters in fantasy stories all have white skin, which I never liked.

The fighting in the NHL, especially, and, I think, in some of the minor leagues, it's usually the loudest and the most excited the crowd gets during the entire the game.

A writer has to stand outside the page. It's not for the writer to shed tears onto the pages for these characters. It's not for him to suffer or to laugh or to experience ecstasy or agony in the manner of the characters on the pages.

Male playwrights, on the whole, are probably more interested in male characters. They need women characters to be the women in their lives or to be the domestic difficulty.

Creating characters is like throwing together ingredients for a recipe. I take characteristics I like and dislike in real people I know, or know of, and use them to embellish and define characters.

To connect with the characters, you need to connect with the world. If the world feels vaguely familiar, I believe the characters will feel relatable.

Psychology was going to be my minor in college. I've always been really interested in the human mind, which is probably why I'm an actor.

Women's sexy underwear is a minor but significant growth industry of late-twentieth-century Britain in the twilight of capitalism.

Learn how to separate the majors and the minors. A lot of people don't do well simply because they major in minor things.

I just write characters, and somehow they happen to be a boy and a girl. When the story is put together, and their characters interwoven, they do end up together somehow.

What people like are things to laugh at. Funny shows. It's all in the execution, the writing and the characters, not the setting. And the writing and the execution and the characters are GREAT on (Everybody Loves Raymond).

I used to subscribe to Nintendo Power. The first issue had 'Mario 2,' and it had all the characters rendered in clay. So I started making all of these characters out of clay.

Revision has its own peculiar pleasures and its own peculiar frustrations. The ground rules are already established; the characters already exist. You don't have to bring the characters to life, but you do have to make them more convincing.

While I've written in the POV (point of view) of adolescent characters before... I never have had to create novels in which those characters not only drive the plot, but also are instrumental in resolving whatever issue the plot deals with.

Frank Sobotka in 'The Wire' on HBO was one of the greatest characters I've ever played. They cut his throat at the end of that season. There's something about creative coupling that seems to go with great characters, and the fact that you can never play them again once you're done.

Obviously, I love superheroes; I love comic book characters, but I... I guess I've had a lifelong affection for comics, and while I love the characters so much, I also love the medium.

I suppose it's possible that a writer would have feeling for his characters, but I can't see how, because writing is such a meticulous, intricate, technical business. I wish I could say that I love my characters and that frequently they take over the book and run away with the plot and so on. But they don't exist.

Creatively, I just like interesting characters. So straight, gay, or whatever - like, whatever, wherever the characters are coming from or their lifestyle.

Dictators are ludicrous characters, and, you know, in my career and in my life, I've always enjoyed sort of inhabiting these ludicrous, larger-than-life characters that somehow exist in the real world.

The Beautiful Things that Heaven Bears is very much about America - it just happens to have African and Ethiopian characters, and in fact, it happens to have more characters who are not Ethiopian than who are.

There is more story in a minor character like Boba Fett than there is in all the clutter of various vampires in the Twilight franchise.

You can't go up to girls and start talking about minor 7ths and expect to pull. It's not going to work.

Dialogue is the ideal means of showing what is between the characters. It crystallizes relationships. It should, ideally, be so effective as to make analysis or explanation of the relationships between the characters unnecessary.

Being banned from UK will be minor irritant for [Donald] Trump, but catastrophic for local community around Turnberry.

The relationship between reader and characters is very difficult. It is even more peculiar than the relationship between the writer and his characters.

I do not choose characters because I think, 'Wow, that woman is so strong.' I chose these characters with utmost conviction because I think they were realistic enough to exist, and I really liked the scripts.