Top 1200 Minor Characters Quotes & Sayings - Page 12

The Child Custody Protection Act makes it a federal crime to transport a minor across state lines for the purpose of obtaining an abortion.

I'm a very visual thinker, so the characters are running through my head, doing what they're doing when I'm writing them. And there'll be moments where I'll just kind of throw a look off to the side as if I'm talking to one of the characters. It's always been something that I've had with me since I was a little kid.

I'm interested in gay characters - not trying to sensationalize gay characters, just [representing] who are in my personal life. I'm interested in exploring my world and my friends, and a lot of them happen to be gay.

Mysteries always have the potential for interesting connections between the elements. I'm also most interested in the relationship between the characters. As in 'Masterpiece,' I'm trying to create characters who not only are solving a mystery but are solving the riddle of their own personal relationships.

There are technical tricks that may help you create more effective characters. My approach to characterization is not at all technical. I can't really analyze how I do it, but I am sure of one thing. To write convincing characters, you must possess the ability to think yourself into someone else's skin.

I like going back in time and writing historical fantasy. I use some real historical characters as a background to give depth to the fantasy. And I throw my fictional characters into the midst of this, and, so far, it has turned out interesting.

I always thought that life is full of stories and characters that feel like literary stories and characters. So when I started making documentaries, they weren't humble empirical things, just following people around. I was always trying to impose a story.

I think everybody came into it with the understanding that they would go through an experience that is literally not by the book, that is not executing the script and then going home, but living and breathing these characters and being in the moment with each other, and improvising and creating a lot of present-tense intensity between characters.

I doubt I would have written a line ... unless some minor tragedy had sort of twisted my mind out of the normal rut.

I was quite shocked at the tone I took and the judgements I had of the relationship that she embarked on, you know, sex with a minor. But it's the stuff of great drama.

I need to be out earning. I can make more in two hours at a card show than I did [as a minor-league manager] all year.

I always do a lot of work around characters to make them real people because, oftentimes, they really are a sliver of a person. Even with truly wonderful writers, women characters are there to emote, and they're often incredibly chaste or worthy. Or they're a 'different type of woman', which is the worst.

The seat of the soul and the control of voluntary movement - in fact, of nervous functions in general, - are to be sought in the heart. The brain is an organ of minor importance.

I just felt like, you know, I read a lot of scripts out in L.A., out here in the industry and I just felt like this film was just being genuine. I just felt like it had really great characters. And all the three different characters have completely different stories and they're all kind of intertwined together thematically. So I just thought it had great characters, great themes

After some minor pieces of theoretical study that I worked on, a student in my statistical mechanics class brought to my attention a problem in polyelectrolytes.

I've always preferred writing about grey characters and human characters. Whether they are giants or elves or dwarves, or whatever they are, they're still human, and the human heart is still in conflict with the self.

When classes are small enough to allow individual student-teacher interaction, a minor miracle occurs: Teachers teach and students learn

I believe in freedom, I'm for a world without borders. But that's an ideal. On a practical level, I'm for a secular state where religion only plays a minor role.

Literature doesn't have a country. Shakespeare is an African writer. His Falstaff, for example, is very African in his appetite for life, his largeness of spirit. The characters of Turgenev are ghetto dwellers. Dickens characters are Nigerians.

I think the more depth you build into the characters, and the more you see where they came from, the more fun you can have. Setting up different characters in different relationships is always helpful as you move forward.

Who on earth is going to use 'utilize' in a text message, a whopping seven characters including the always-hard-to-type 'z,' when you can say the exact same thing in three characters? I can't think of a sentence in which 'use' can't replace 'utilize.'

I think art, especially literature, has the particular power to immerse the viewer or reader into another world. This is especially powerful in literature, when a reader lives the experience of the characters. So if the characters are human and real enough, then readers will feel empathy for them.

I honestly go back and forth in my head about using advanced and innovative technologies for creating my characters. There's something more 'real' and charming when the characters aren't perfect. It's the difference between anything that's built by a computer and machine versus the same thing being made by hand.

You have to think about good storytelling and characters first. Then hopefully, the rest of that stuff will follow, some more than others. But if you don't have a good film and strong characters, then you don't have anything down the road.

You start to fall in love with characters as you work with them, and anytime that you care about your characters and you realize that you're gonna have to kill them, that fear creeps in. It's sad. It's scary, and it's also sad. Because you like these people.

'Transparent' was huge for me when I first saw it. I felt that, from an authorial point of view, no one was trying to sell characters to us, you know? It's the idea of not having to adore these characters and want to cuddle them; you just have to be into them and their psychology and be compelled by them.

Formal symbolic representation of qualitative entities is doomed to its rightful place of minor significance in a world where flowers and beautiful women abound.

I think my characters with my fingers, I think my characters with my guts. But when I say I think them, that is what I do, I feel them with the sympathetic neurons and I work out with my brain what it is that I am trying to write about, or I can't do it.

I enjoy playing real human beings after playing a lot of larger than life characters. I love playing true to life characters and that is what I intend to do for the majority of my career.

I like being in real environments. I love being in the place that it's about - these sets and locations are characters in the movies. Can you imagine Breakfast at Tiffany's shot somewhere else? It's classic. Characters are part of storytelling; they're just as important as everything else.

I always say that characters must drive plots, never the reverse. Writing about large-scale events creates the risk that the scope of the events themselves can overwhelm the characters. I emphatically do not want that. That was the only trepidation I felt when I started 'The Twilight War.'

Because I had some roles that resonated with women, I immediately noticed that there were far more male characters than female characters in what we're showing little kids in the 21st century, which was stunning to me. But I couldn't find anybody else who noticed.

Learn to overrule minor interest in favor of great ones, and generously to do all the good the heart prompts; a man is never injured by acting virtuously.

When I did 'Fast Times,' I felt very close emotionally to the characters. I liked those characters because they all had to work, so they were dealing with adult problems even though they were very immature, and I could relate to that.

There are always leading characters. There are always complex characters; there are very rewarding plays with great directors and tremendous playwrights, yeah. I've done a lot of things with theater that I'm very, very proud of.

What's cool is that in the story of the movie [The Hangover] our characters are also really kind of getting to know each other and bonding over the course of the movie. And I think you're seeing a real, a literal sort of friendship growing both in us as actors and on screen as characters.

In minor crises, the preacher can extract himself emotionally and allow others to express grief and fear and doubt while he remains strong.

"Balance" as a verb doesn't mean "stillness," but the constant act of making minor corrections from one side to another to bring one towards a center of stability.

Unfortunately, anti-Darwinism keeps playing minor variations on the same negative themes and adds nothing to our understanding of life.

Self-projection is, more often than not, the move of the minor craftsman, of the tactics of the hour whose inherent weakness is, precisely, that of originality.

TV is designed to keep characters in place for years on end. The best example is 'M*A*S*H:' You have a three-year police action in Korea, and they stretched that out to eleven seasons. It was a great show, but when you think about it, a weird unreality overtakes a television series. You see the actors age, and yet the characters don't.

First comes an idea. Then, characters begin to evolve out of the landscape of that idea. And then, finally, characters dominate: plot is simply a function of what these people might do or be. Everything has to flow from their personalities; otherwise it will not be emotionally engaging, or plausible.

I tend to see my characters from inside and outside at once; this is a technique I use to retain a slight distance. It means my characters can act in unexpected ways on two axes: physical and mental. It isn't just, 'I thought this and then I did this,' which is the technique of the modern psychological novel.

Left to myself, I would only play an Indian. But the reality was that there were hardly any Indian characters I could play in the films made in England and Hollywood. So I had to learn how to disappear into a variety of characters.

I like playing a variety of characters. I feel like I've been able to play different kinds of characters - I've done a lot of period pieces - but I've never had to play the same type of character too much.

There are plenty of secondary characters that I had always hoped to write, but I don't know if it will ever happen. The way contracts work, if you leave one publishing house for another, the characters tend to stay with the previous publishing house.

Even if there was an opportunity to school yourself in different characters - characters that have distinct personalities which may be totally different from yours, you have got to completely divorce your own personality to be able to go over to the other personality.

Like the minor poet who knows the meanness of his gift, I am doomed to a lifetime of frustration: to be able to comprehend beauty, but not create it.

Measures are too often decided, not according to the rules of justice and the rights of the minor party, but by the superior force of an interested and overbearing majority.

I think that's the kind of women that people are interested in. They're interested in strong women characters who are stronger than the male characters sometimes, in some ways. That's what's interesting and attractive about women.

With all of the characters I've played, I feel like I've tried to communicate through my eyes and face, as much or more than with words. That's something that I like to watch in films, and something that I like to bring to the characters that I play.

When Ronald Reagan was elected I was on a bus traveling with a band in France. I wrote a little arrangement of The Star Spangled Banner in a minor key.

I always find it actually funny that the analysis is that the characters I play in comedies are the manchild, the adolescent, characters that refuse to grow up. And yet, if you look back in the history of comedy all the way back to the Marx brothers, that's a big part of comedy.

When you're directing an ongoing series, the tone has already been set. So a director will come in and fulfill that tone - reinforce the characters and their behavior. The challenge is to find unique ways that you can visually tell the story while keeping the established tone and the pace and the characters.

I was watching the last season of 'Mad Men,' and they're now so in their characters and they're so comfortable in their characters, and they're doing such good work. That can only happen from doing it over and over, and developing a character over seven years.

I spent my first two years as a professional with Mapei in Italy, on their youth team. We rode in minor races. Doping wasn't an issue. S

I don't like the strictly objective viewpoint [in which all of the characters' actions are described in the third person, but we never hear what any of them are thinking.] Which is much more of a cinematic technique. Something written in third person objective is what the camera sees. Because unless you're doing a voiceover, which is tremendously clumsy, you can't hear the ideas of characters. For that, we depend on subtle clues that the directors put in and that the actors supply. I can actually write, "'Yes you can trust me,' he lied." [But it's better to get inside the characters' heads.]

I think characters are most terrifying when they're relatable. It's best when your most horrible characters make sense, and are believable. That's when a movie is most terrifying.

Normally, filmmakers would just write a script and cast people to act as certain characters in the story. But in my way of doing things, I have the actors in my mind already, so I'm trying to borrow something that's unique to them. The characters have a very natural connection to the actors themselves.

Sometimes minor details can have a huge impact. If you don't devote 100 percent of your efforts to every detail, you immediately run into difficulties.