Top 1200 Minor Characters Quotes & Sayings - Page 7

In 1962 I was named Minor League Player of the Year. It was my second season in the bigs.

I don't have any special approach for playing dark characters. That's because I never looked at them as dark characters per se. For me, they were real people.

I always say I write my own novels and the characters don't take control of me, but in fact, I look at the characters in the early stages and I think, 'What is he or she like,' and they slowly come together and they become the person they are.

Everybody is excited to play so I think who plays with whom is a minor thing at this point.

We're showing kids a world that is very scantily populated with women and female characters. They should see female characters taking up half the planet, which we do.

I play characters that are pretty; I play characters that are sort of intimidating and confident, but that doesn't necessarily mean that I'm that.

The point of my work is to show that culture and education aren't simply hobbies or minor influences.

Good people can do terrible things, and that's what life is all about, the complexities and grey areas. And often characters aren't written that way in movies, especially characters for women. So you end up being either one thing or the other.

Of course, Annabeth wouldn't be able to breathe, but at the moment, that seemed like a minor problem.

Those who have not undergone minor disasters are usually being held in reserve for something major

Minor things can become moments of great revelation when encountered for the first time.

I remember talking to Xavier Woods about so many things and vignettes and backstages and these stories we could do between our crazy weird characters and their insane, obviously fun loving characters and all this stuff.

I think I have minor obsessive compulsive disorder. Everything has to be tidy and just right.

I start with an idea or a problem or a conflict, or even a situation that might be pertinent to the lives of young people, then the characters grow from that point. I try to make strong characters that change and develop and learn from their mistakes.

I've been living with the minor second all my life and I finally found a way to handle it.

I've had people who see all my characters as Native, even if they aren't. It's kind of like assuming all a writer's characters are really female because the writer is a woman. I've learned to let that go.

I had a minor in Russian history, and this was at the time when the big Cold War was going on.

To a woman who knows her own mind men can only be a minor consideration.

I think a few of my most visible roles are crazy or peppy girls, but I've played a lot of characters who are soldiers, or fighters, or meditative characters, and a lot of this stuff hasn't come out.

Short of a small range of physical acts-a fight, murder, lovemaking-dialogue is the most vigorous and visible inter-action of which characters in a novel are capable. Speech is what characters do to each other.

It is just that heavy metal musicians write in minor keys, and when you do that, you frighten people.

The only black people you found were occasional characters or characters who were so feeble-witted that they couldn't manage anything, anyway. I wrote myself in, since I'm me and I'm here and I'm writing.

I work very hard at creating complex characters, a mix of positives and negatives. They are all flawed. I believe flaws are almost universal, and they help us understand, sympathise and, paradoxically, feel closer to such characters.

Doc Savage, Indiana Jones, Flash Gordon... these were the kinds of characters I was thinking about as I was developing Jonas Quantum because there aren't that many brand new characters being introduced anymore.

For a long time now, movie characters have generally been articulate, even chatty. Call it the influence of Woody Allen, but we have become used to characters who are well able to explain themselves to others.

Some of my acting heroes have built careers on playing characters who do horrendous things - they're repellent and lovable. They're not likable, but they're lovable. I think Christine is one of those characters.

The house itself is of minor importance. Its relation to the community is the thing that really counts.

Growing up, I wanted to be in WWE because of watching characters like Stephanie McMahon and Paul Heyman. They just are such incredible storytellers, such incredible, compelling characters.

Gettting to know your characters is so much more important than plotting. Working out every detail of your story in advance, especially when you don't yet know your main characters, always seems a little too much like playing God. You're working out your characters' lives, their destiny, before they've had a chance to discover who they are and what kind of people they want to be.

The '50 Shades' series is a Cinderella story, where the characters seemingly have no flaws. The 'Crossfire' series is very different in that these two characters are almost mirror images of each other.

It's our job as actors to make it look like it's not manufactured. If you have two actors who understand their characters - and therefore what they are trying to portray - then all they need to do is be the characters and there's a chemistry there.

I tend to enjoy roles that I very closely identify with: fringe people and complicated characters, who might even be bad guys, or bad characters that have one redeeming quality.

Life is full of many minor annoyances, and few matters of real consequence.

If you get the characters right you've done sometimes nearly half the work. I sometimes find I get the characters right then the characters will often help me write the book - not what they look like that's not very important - what people look like is not about their character. You have to describe the shape they leave in the world, how they react to things, what effect they have on people and you do that by telling their story.

Our 'Top Gear' characters are based on our own characters, if exaggerated and cartoonified. We try not to be completely different to who we are, because you couldn't carry it off in the long run.

I love meeting booksellers and readers and hearing how they've read and received my stories. Often I'm surprised by which characters they've loved best, what scenes have stayed with them, what connections they've felt between my characters' lives and theirs.

I learned a long time ago that minor surgery is when they do operation on someone else, not you.

I was for a minor amount of time but I was probably a better pianist at 15 than I am now.

Chopin--Two embalmers at work upon a minor poetthe scent of tuberosesAutumn rain.

Promoting a record on a major label is like running a minor military campaign.

There's nothing comparative to Damien [the current Robin] or any of the other characters. I love those characters. And this isn't, "This is better than that." I think a couple of people misread what we had said in the first issue about that stuff.

If you tried to make a 'Game of Thrones' movie, you'd have to eliminate two-thirds of the characters, and there'd have to be one storyline, but on TV, you can really get to know the characters in a way that there just isn't time to do in a movie.

I have been part of some fantastic shows and played great characters, including a double role in 'Dil Hai Ki Manta Nahi' and a negative one in 'Sanjivani' because I was bored of playing positive characters.

I think having funny characters is just one way of having three-dimensional characters.

I am looking at characters that will stay with people, that they will remember. Characters that are relevant.

When I did these psychological characters like the drug addicts, the ones who were rejected and dejected, I started to feel a sort of melancholia which was very unnatural for me to have at a teenage. Then I avoided those characters.

What's actually amazing is that, after a couple of years of living with characters and writing characters and talking about characters, as we sit in the writers room and break episodes, it strikes you, every once in awhile, that you're talking about a character that's played by the same actor, who you've been talking about forever. We talk about a character dying, so you get emotional, and then you realize, "Oh, but wait, that actor is still on the show."

In cases of porphyria, a minor disease, the patient excretes large quantities of porphyrins.

I'd say that any character or setting can be given a bit of an otherworldly sheen and be the better for it. The one thing I insist on with my own writing is that I won't let magic solve my characters' real world problems. The solutions have to come from the characters themselves.

I don't try and write strong female characters or strong male characters, I just try and write, hopefully, strong characters and sometimes they happen to be female.

I think whenever you transform from normal light-hearted characters, to characters which might be out of your comfort zone or less relatable, that is double the work and commitment required to understand the society that character comes from.

Deliberate tactical errors and minor losses are the means by which to bait the enemy.

It was fun shooting for Vithagan.' It's a bubbly character. I perform minor stunts too.

I think the characters Nick and Solomon, the characters on Fear Street,' were definitely further from myself. But I think ultimately I do try to look for the gristle in every character.

No writer besides Shakespeare has created more memorable characters attached to vices and virtues. In even their least sympathetic characters, one senses a kind of helplessness to passion quivering between the poles of good and evil.

It's like my characters, all my men are Dad and me in a mess; all my female characters are smart and hopeful, like Mom just trying to make the best of things.

Perhaps I abandoned criticism because I am full of contradictions, and when you write an essay, you are not supposed to contradict yourself. But in the theater, by inventing various characters, you can. My characters are contradictory not only in their language but in their behavior as well.

My beliefs encompass all religions. But I never show my religious inclination in my films. My characters have dark sides; they aren't the god-fearing characters. It wasn't a conscious decision. I'm a very lazy and emotional person who connects with the common man.

All the other characters are so well-rounded, and it's just frustrating because female characters aren't. It's not that they're badly written, they're just underwritten. They have no internal monologues; they could be absolutely anyone.

Once you leave the minor leagues, you want to not come back. But it's the path that I'm on, the journey that I'm on.