Top 1200 Minor Characters Quotes & Sayings - Page 14

You don't meet computer game characters when you use a controller. You control computer game characters.

There's no Hell mentioned in the Old Testament. The punishment of the dead is not specified there. It's only with gentle Jesus, meek and mild, that the idea of eternal torture for minor transgressions is introduced.

I played good ball in the minor leagues, and that's why they called me up to the major leagues.

Moby Dick - that book is so amazing. I just realized that it starts with two characters meeting in bed; that's how my book begins, too, but I hadn't noticed the parallel before, two characters forced to share a bed, reluctantly.

Life is so full of miseries, minor and major; they press so close upon us at every step of the way, that it is hardly worthwhile to call one another's attention to their presence.

It helps to regard soul as an active intelligence, forming and plotting each person's fate. Translators use "plot" to render the ancient Greek word mythos in English. The plots that entangle our souls and draw forth our characters are the great myths. That is why we need a sense of myth and knowledge of different myths to gain insight into our epic struggles, our misalliances, and our tragedies. Myths show the imaginative structures inside our messes, and our human characters can locate themselves against the background of the characters of myth.

I think people are excited because, even watching 'Boy Meets World,' you can tell that those characters are going to do something when they get older. I think people are excited to see characters they grew up with continue.

I have this theory that the likeability question comes up so much more with female characters created by female authors than it does with male characters and male authors.

Some people see me as dissecting my characters in some kind of heartless, coldblooded, analytical way, when in truth making these movies is a passionate, intensely emotional experience for me. I'm detached from the characters only to the degree that I have to be in order to write honestly about them.

I love my job. It's such a privilege to be able to play such complicated characters. Growing up, I wanted to be a billion different things. I realized in order for that to happen, I don't have to be them all because the characters I want to play require such research and such a transformation to make that work - that's something that I love doing.

To be a very, very minor, eighth-tier celebrity, you realize, 'Hey, celebrities are just like us.'

People who are well-known, famous people, I think, make very poor characters for fiction. They make good characters for gossip columns. But not for fiction.

I always considered myself a minor writer. My province is small, and I try to explore it very, very thoroughly.

Writers write because they cannot allow the characters that inhabit them to suffocate them. These characters want to get out, to breathe fresh air and partake of the wine of friendship; were they to remain locked in, they would forcibly break down the walls. It is they who force the writer to tell their stories.

Part of the core of my system, is a way of trying to give the characters more control. If I'm practicing making up what the characters will do, it's never good. In fact, when I catch myself doing that, I try to get rid of that section, and try and let them start making the decisions.

'Thunderbolts' I was mostly attracted to because I really wanted to write Punisher and Elektra and Deadpool, who are characters I have always really enjoyed. But the funny thing is that over time, I came to really like Red Leader; he became one of my favorite guys in the book. Sometimes characters surprise you.

At my growing years of 18 to 21 years old in the Minor Leagues, I dreamed of being a Philadelphia Phillie.

Very thorough in the rehearsal process but more in terms of just understanding the characters, understanding where the actors are at with discovering those characters for themselves, and just setting an overall emotional tone for the piece as opposed to necessarily getting things up on their feet or staging scenes.

Could I imagine being a piano? That'd be awesome. I'd throw a D-minor at you to make you sad, then an F-major to make you happy!

There's no such thing as a minor lapse of awareness. You're either present with what is--right here, right now--or you're someplace else.

I love playing different characters, and I would love to be playing different characters in movies or TV shows, instead of continuing my career with the WWE.

A proof of really great art is that it is generally true - it seldom falls into the misapprehensions to which minor art is liable.

I have this theory that the likeability question comes up so much more with female characters created by female authors than it does with male characters and male authors

With every episodic, there's a learning curve where writers try to find the voice of the characters by way of the actors. Many details are found along the way. On 'Caprica,' although the franchise already existed, we were creating an entirely new world full of new characters.

he beauty of this world [of comics] is there are so many stories to tell, and there's so many wonderful characters. Wonderful characters we haven't even begun to introduce - it's a world that is infinitely expandable.

I tend to play strong characters and people just assume that I would want to play romantic comedies, which I would love to do, but there are other women that do it so great and they maybe couldn't do what I do, play the kind of characters that I play.

'Longmire' is more of a show about the characters, and you couldn't pay a bigger compliment than to want to know more about my character, or the characters on the show.

When I was asked to compose a score for... 'Palo Alto,' I first thought to myself, 'What is the house that these characters would want to live in?' I wanted to paint a picture and color scheme that I could work around. I gently apply different daubs to see what fits to match the color I have in mind with these characters.

It used to be that you had to make female TV characters perfect so no one would be offended by your 'portrayal' of women. Even when I started out on 'The Office' eight years ago, we could write our male characters funny and flawed, but not the women. And now, thankfully, it's completely different.

All the minor sports injuries you acquire over the years begin to multiply like flies when you get over 70.

A Minor is one of my all-time favorite keys to play in. It's a very moody key, and also 'A' is the first letter of my name. It just represents the songs through my eyes.

People are swept into the criminal justice system - particularly in poor communities of color - at very early ages... typically for fairly minor, nonviolent crimes.

Football, I thought, would be a tough sport to make a living in. There is no minor league. You either make it to the NFL or you don't.

Let the seeking man reach a place where life and lips join to say continually, "Be thou exalted," and a thousand minor problems will be solved at once.

Probably a concern to either a major or minor degree with most actors if they're really motivated to kind of make a significant difference in the business is the 'pigeon-holing' thing.

It is the genus that gives the characters, and not the characters that make the genus.

I'm attracted to films that have strong female characters because there are strong female characters in my life.

I did a minor in creative writing in college, but I didn't start writing until I stayed at home with my own children.

I think part of the pressure put on 'strong female characters' comes from the fact that there is so often 'the team girl,' who must be all things to all people. Part of avoiding that is having as many female characters as I can, and allowing them to thrive in their own right, not inside a framework they didn't ask for and don't want.

It's a fickle town, a tough town. They getcha, boy. They don't let you escape with minor scratches and bruises. They put scars on you here.

I write - and read - for the sake of the story... My basic test for any story is: 'Would I want to meet these characters and observe these events in real life? Is this story an experience worth living through for its own sake? Is the pleasure of contemplating these characters an end itself?

The more you focus on control, the more likely you're working on a project that's striving to deliver something of relatively minor value.

Y'see, I get so bored so easily. I like to start with a clean slate each time. Sure, I'll have characters drop in and out of books but the main cast of characters always changes. Maybe I'm wrong but I think if had the same joe detective guy or gal, I wouldn't write them as well; I wouldn't do as good a job.

I had been thinking for a while about how bored and tired I was of playing straight-down-the-middle everymanish characters that have what I call white guy problems. And I missed playing characters who lacked dignity and more importantly, lacked social skills.

I wish we could sometimes love the characters in real life as we love the characters in romances. There are a great many human souls whom we should accept more kindly, and even appreciate more clearly, if we simply thought of them as people in a story.

In Hollywood, the guy who plays Batman and Spiderman also plays normal characters. The biggest stars in the world want to play different characters. We can't give the excuse that because an actor played a superhero in his previous film, his next one won't work.

Should surveillance be usable for petty crimes like jaywalking or minor drug possession? Or is there a higher threshold for certain information? Those aren't easy questions.

The first thing, when I read the script, is that I need to care about what happens and feel compelled by the story and engaged by the characters. It needs to resonate with me, even if what the characters are going through is not something that I have experienced in my life. I have to feel like it has some sort of meaning to me.

You love all your characters, even the ridiculous ones. You have to on some level; they're your weird creations in some kind of way. I don't even know how you approach the process of conceiving the characters if in a sense you hated them. It's just absurd.

Truman Capote has made lying an art. A minor art.

The thing with videogame characters is that they tend to be really undercooked, and people don't take the time to really flesh them out. They don't treat them with the respect that a writer writing characters in any other medium would treat their character.

Nine times out of ten it's a minor shift in your focus and your attitude that makes the difference.

You never want to be in a position where your reader feels like you're passing judgment on your own characters. Any novel where you feel like the author is talking to the reader over the characters' heads is in a bad place.

Being on tour, it's really easy to stop knowing people that you want to know, because you're not sharing experiences; you're not existing in the minor moments of somebody's life.

I actually don't know much about Jaclyn Moriarty's process or where her stories come from or who inspired her characters. I just know that reading her books feels like sitting with friends. Her characters feel alive.

Actors are the most important. Performance is what matters. Nothing matters more than the actors; they have to perform. No one else can give life to the characters. Audiences must believe the characters as real and the moments as real.

To go through this life and see it through - what it really is - and not be insane or addicted, is a minor miracle for anyone.

I believe that to create real-seeming characters, the writer must be willing to go on a voyage of self-exploration. It can be revealing and even painful to explore your own weakness, but it gives you genuine emotion. Characters in fiction come alive because of the believability of their emotional lives and that is what I strive to create.

In undergraduate school, I chose a career path that always leads to certain unemployment: I majored in politics and public affairs with a double-minor in philosophy and history.

I don't see a difference between playing a performance capture role and a live action role, they're just characters to me at the end of the day and I'm an actor who wants to explore those characters in fantastically written scripts. The only caveat is a good story is a good character.