Top 1200 Minor Characters Quotes & Sayings - Page 11

It's nuts that we've reached a situation where representing female characters - let alone minorities - is considered "social responsibility" and not, you know, depicting half the world's population. I often feel like the gaming audience is so much more diverse than the characters represented in the games that they play.

I don't really pity any of my characters. I hold my characters under a harsh fluorescent lamp and ask "Who are you?" I'm not doing their makeup or giving them hairdos. They present themselves to me as they are and then I let them say what they want. Usually they're saying something too honest.

The characters are whole, real people to me that I'm getting to know, and since real people are all flawed, so are my characters, I hope.

There's something extremely rewarding about following characters that you like and knowing that there's as many hours of viewing as you have the appetite for. You can tell more complex stories; you can create more complex characters in the longer form.

What I like and find liberating in dialogue comedy is that the characters, and what they say, are not me. These are fleeting thoughts and observations and not presented as truths but as something that illuminates the character and the dynamic between the characters. This kind of dialogue is thesis and antithesis - and we never get to a synthesis.

I can't grumble. I've been very content with the way things have gone. I may have minor quibbles as we all have, but I'm still working at 70.

When I saw 'subUrbia' on stage, I started having those feelings inside me. I saw it as a film, and I felt I knew the characters, or I was the characters. It really dredged up all this stuff in me that never went away.

I always found growing up that, even inspiring female characters or complex female characters in TV and film... I often found that their complexity was actually just another facet of their sexuality.

Watching people like Brandon Graham, Erik Larsen, and Joe Keatinge produce stories for my characters was a revelation... Like, 'Why are you doing work for hire when others are working on characters you own?' 'Bloodstrike' and 'Brigade' is me re-focusing my focus!

Everybody has their different tastes with television - there are some characters people like, some characters people hate.

I usually start with an ending, then outline high points of things that happen, and kind of make up the rest as I go along. Occasionally, the characters surprise me, and I wonder how we got here. Other times, the characters are stubborn and won't do something I want them to in the story.

The secret at the heart of 'The Memory Keeper's Daughter' is something everybody, except for some of the characters, knows in Chapter 1. Some of the narrative tension comes from that distance between what the readers know and what the characters know.

There are almost no characters in this story, and almost no dramatic confrontations, because most of the people in it are so sick and so much the listless playthings of enormous forces. One of the main effects of war, after all, is that people are discouraged from being characters.

The retreat of a minor piece to the back rank, where it cuts the lines of communication between the rooks, is permissable only in exceptional cases.

If I'm interrupted, it's just a minor inconvenience, but not a disaster, because it's easy to get back where I was: that is, the paint has not changed consistency; the light has not moved.

I've met so many fans of daytime television who've watched the shows with their moms and grandmas and feel like they've known the characters their whole lives. It's sad for them to have to say goodbye to their favorite soaps and characters. We don't want that to happen to the 'Days' fans.

And when I'm writing, I write a lot anyway. I might write pages and pages of conversation between characters that don't necessarily end up in the book, or in the story I'm working on, because they're simply my way of getting to know the characters

And when I'm writing, I write a lot anyway. I might write pages and pages of conversation between characters that don't necessarily end up in the book, or in the story I'm working on, because they're simply my way of getting to know the characters.

Concerning no subject would [George Bernard] Shaw be deterred by the minor accident of total ignorance from penning a definitive opinion.

I tend to use a lot of movement in both camera and characters, and I also tend to give characters a lot to physically do.

I think people are getting into these 'Empire' songs because of the emotional investment they have in the characters. You kind of feel like you know the songs already because you just watched them play out in front of you with these characters.

There is much else in the literary idiom of nature-philosophy: nothing-buttery, for example, always part of the minor symptomatology of the bogus.

I like the idea of a TV show. You take time to get to know your characters. You can introduce a lot of characters. You don't need your three-action set pieces that you usually need for movies.

Young pitchers don't throw enough in the minor leagues, and when they get to the majors, they don't have the stamina; their arms haven't been built up.

I couldn't function if I weren't allowed to stretch and do really different characters where I can change the whole "beingness" of that person. That's my pleasure in acting and has been since I was a kid. That's always been my pleasure to create complete characters.

I have an economics degree with a minor in sociology. The reason I have that is because I want to do a ministry in urban areas and help with underprivileged kids.

All fiction is about people, unless it's about rabbits pretending to be people. It's all essentially characters in action, which means characters moving through time and changes taking place, and that's what we call 'the plot'.

I usually always think of characters and sometimes the characters are a little bit invented, so it's nice to give these invented, blurry, personas an actually name. It makes me get closer to them or something like that. But they're not all real, they're weird amalgamations of reality.

When I realised that what I do really well is play women who are tough and vulnerable, it was a moment of clarity. Many female characters either have one trait or the other, but I play both. I don't need to play characters who are like me. I can just do that with my life.

It's surprising how a minor slump in sales can have a huge impact, and can actually cut so significantly into margin that the company really feels it.

Well, that's the great thing about indie film, in general. If it's not subject to the constraints of too much pressure from the studio or marketing, and all of that, you get to actually present fuller characters and you get to have the dark side of the characters. That's usually what gets cut out.

I'm just trying to write a good story, strictly from imagination. People just think it's random, they don't see the rewriting, phrasing of characters, choosing the words, bringing the world to light in which the characters live in. That creates an illusion that this is real.

I always try to keep in mind that while the characters in a farce may find themselves in outrageous dilemmas, and may behave in a way that the audience finds amusing, the characters themselves don't have the consolation of knowing they're in a comedy.

One of the things when you write, well the way I write, is that you are writing your scenario and there are different roads that become available that the characters could go down. Screenwriters will have a habit of putting road blocks up against some of those roads because basically they can't afford to have their characters go down there because they think they are writing a movie or trying to sell a script or something like that. I have never put that kind of imposition on my characters. Wherever they go I follow.

Characters with no integrity are just as interesting as characters with lots of integrity.

I try to shrug it off as a minor annoyance that whenever I do something successful, every capitalist out there wants a piece of the action.

The challenge in writing a show that's about people and their flaws is that it can easily tip over - okay, I'll sometimes watch something, and there will be characters that are written in a way that I'll know that the writer just hates human beings. They're expressing this misanthropic point of view with these detestable characters.

I think there's a lack of really, really good funny scripts out there that work on all the levels that they're supposed to - which is to say that they're not just funny but they have interesting characters that people are going to like and be invested in. I've done a bunch of movies that haven't worked but I like to think I've done some that have worked and that's because not only is the comedy there but the characters and storylines are interesting. The characters are real and relateable and people were invested in them.

If it's your child, it's different. You don't care about those things. It's so minor. You become a parent and nothing else really matters.

I turned down all the requests for the rights to the books, for years, mostly because they wanted the rights to the characters, and to turn it into a TV series. This would have allowed them to do anything they wanted with the characters, and that just wasn't an option for me.

I worked on the workshop of 'Topdog/Underdog' before it went to Broadway. My minor in school was theater, so I'm based in that, and then I moved to Los Angeles.

I've never understood people who treat their loved ones worse and with less respect than they would a total stranger or minor acquaintance.

If you look at poker as a sport like baseball, then I'd be maybe a minor league or high school ballplayer. But I play with T-ballers.

I was at the first Minor Threat show, and you could tell, 'This band is going to be the king of the town.' It was obvious. They were so good.

Jesus is the masterpiece. The thieves are minor works. Why are they there? Not to frame the crucifixion, as some innocent souls believe, but to hide it.

The minor choices we make are themselves a kind of vote. Our words and gestures, or their absence, count very much.

All of the actors that have served to me as inspiration over the years have been those more associated with dramatic work who have, in turn, been able to embody their characters and lose themselves in those characters that they create.

All my characters exist in risk, in the places we are either too afraid to go to, or have enough privilege not to have to, but whatever the reason, these characters I fashion go before us and come back transformed for us. For me, at least.

Sometimes astronauts feel a little ill or get minor scrapes. I trained as a crew medical officer to do basic treatment.

I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are.

I would always contend that talent is an element, but over the long run, ultimately, a minor part of it all; it is mostly hard work.

I think we make the movies, initially, with the one movie in mind. But we do love the characters, and so we kind of miss the characters when the movie is over. But I think what happens is, every now and then you realize there's more to tell, or an idea comes up.

I really enjoy those characters like 'Profit.' With those elements that are shady and dark, you're not responsible for being a likable character. Like some of Jack Nicholson's characters, you remember them for so long.

There are dodgy characters in Bitcoin. But there are dodgy characters in cash, too.

You know, I was once named Minor League Player of the Year... unfortunately, I had been in the majors for two years at the time.

When I was growing up, I always had the dream of being an analyst for a minor league baseball team or something like that.

I think you have to love the characters that you write. I don't know how you could possibly write a TV show where you didn't love the characters.

You know, I was once named Minor League Player of the Year...unfortunately, I had been in the majors for two years at the time.

If you're looking at my other major science fiction roles - the Doctor on 'Star Trek' and certainly Woolsey on 'Stargate' - I often play characters that might be good theorists and good thinkers, but you wouldn't call either of them very macho characters.

After 12 years in the minor leagues, I don't try out. Besides, uh, I don't believe in quantum physics when it comes to matters of the heart.