Top 1200 Personality And Character Quotes & Sayings - Page 20

I lost 90 pounds and my blood pressure went down to a normal level and the salt in my urine disappeared. And that was when I had to make the transition from fat character actor to thin character actor.

Don't write about a character. Become that character, and then write your story.

Man, having an ideal before him of that which he ought to be, and is not, and acting as though he possessed the character he ought to have, but has not, comes, by the very virtue of his aspiration, to possess the character he imagines.

I would have to say that I have to concentrate more when I'm doing comedy. There are so many details that make up any character, but developing a character for a dramatic role seems to come more naturally.

You want to be honest with a character and play it truthfully, and you want to be genuine with your character.

Usually I'm very, very involved with choosing my character's wardrobe and knowing exactly how I want the character to look and this is the color palette and the textures and these are the kinds of shoes she'd wear.

You normally either get bitten by a character and decide that is the way to play it, and then that begins to inform everything you do, or you decide, 'I don't need to use much character in this - I have basically got to be me'.

I love the idea of being the underdog, coming in with a take on this underdog character and completely blow people's expectations away. Like, 'Oh, you thought he was going to be a wimpy character? No no no.'

There was a time when people were like, 'Oh my God, Sheamus' character is boring.' Well, when you're just in wrestling matches all the time, and you're not doing character stuff, then it can be a bit monotonous.

If you go for an audition, you have a character description, and for the women, it's always about being beautiful, sexy. And for the men it's more about the character than how he appears physically. That annoys me.

I'm certainly a plot and character man. Themes, structure, style - they're valid components of a novel and you can't complete the book without them. But I think what propels me as a reader is plot and character.

I think that television has become really, really interesting, in terms of character development. You can have 13 hours to develop a character, as opposed to 25 minutes in a movie. That excites me.

Each character requires different language, and these issues become inseparable. You have all these balls in the air: language, character, narrative. For me, the primary focus must be words, sentences, paragraphs.

When 'Director's Kut' called me and asked to come for an audition, I went for it but there was no response for a couple of days. Then I got a chance to meet Rajan Shahi and discuss the character. I liked Pammi the moment I heard about the character.

I don't think my spirituality has affected my character. I feel like my character is much more cynical about his beliefs, and I think I have to kind of drop what I believe in order to play him.

You don't get character because you're successful; you build character because of the hardships you face.

David Corbett's The Art of Character offers a deep inquiry into the creation of character for the novice writer, with valuable nuggets of wisdom for the seasoned storyteller. If you are a writer, it should be on your desk.

I play a character in the WWE and everybody hates my character. I'm the evil villain bad guy. Whenever people meet me, they're like, 'Wow, you're such a nice guy. We never expected that.'

I am extremely excited to play the character of Akbar once again on BIG Magic's 'Naya Akbar Birbal.' There is no better feeling than knowing that your character is so loved by the audience.

My intention is always to honor the character that Lev [Grossman] created in the books and my greatest concern, honestly, is that the fans of the books will embrace me as this character that they've imagined in their heads.

I make out a play list for every character and buy the records they would listen to; it helps me find their personas. What they play, where they stay, who they lay, is my matrix for character development.

The object of man's worship, whatever it be, will naturally be his standard of perfection. He clothes it with every attribute, belonging, in his view, to a perfect character; and this character he himself endeavors to attain.

No one is born with good character; it's not a hereditary trait. And it isn't determined by a single noble act. Character is established by conscientious adherence to moral values, not by lofty rhetoric or good intentions.

'Shivalinga' was a tough project - I did my own stunts in the film. I actually enjoyed it, as I play a character with many layers. It was challenging to switch between the many phases of the character.

Comedy really is my bread and butter, even when I'm doing a serious character, with the exception of Outcast. I have found very little humor in this character. Most of the time, what I do, somewhere there is comedy in it.

I'm a gay man who came from the last years of illegality. That focused my whole character. I think it focused everyone's character in a way. You saw yourself as outside of the main structure.

It's all about story and character with me, and I don't care if the job is on daytime or prime time or the web. Hey, give me a good character and someone to listen, and I'll do my acting on a street corner.

The more you spend time with a character, the more you see different nuances of that character.

I'm a touring artist - I love going out and playing live, and I was sick of making records didn't translate well live - that misrepresented who I was as an artist. I'm not saying those records weren't good. I think they're great. I think a lot of them have great songs. My challenge was making the songs that were specifically great for the type of personality I wanted to present which was my personality - I wanted to get that across on record - and have something that was fun and energetic live.

When I'm writing Broadway, it's for a character, a man, a woman, an old guy, a kid. In the band, you're talking in your own voice in the lyrics, saying what you think or feel. On Broadway, you're expressing that through a character.

The only thing that endures is character. Fame and wealth-all that is illusion. All that endures is character.

A person whose desires and impulses are his own - are the expression of his own nature, as it has been developed and modified by his own culture - is said to have a character. One whose desires and impulses are not his own, has no character, no more than a steam-engine has character.

When you're reading, like, a character's thoughts, or when it's in first person, you're reading kind of their own story, so you have the opportunity to see what makes that character complex or complicated. And to me, that's what the whole point of fiction is.

The conflation of the simple in style with the morally prescriptive in character, and the complex in style with the amoral or anarchic in character, seems to me one of the most persistently fallacious beliefs held by English students.

As an actor, I think it's always important to separate yourself from your characters because, when you include yourself in a character, you're taking a liberty that you don't really have unless you're life is that incredibly close to the character.

I have never been one of those actors who say, 'Oh, my character wouldn't do this,' or 'My character never wears an orange shirt,' or any of the number of inane things I've heard on movie sets throughout my career.

Superman is such an old character. He's an old character with this huge legacy behind him. And one of the awesome things about the fact that he's been around for these decades is that he's gone through these different phases.

I always look for the character that gets into your guts and tells you, 'You have to play this.' You have to be brave enough to let everything else go and let the character guide you. When I read a script, I look for that kind of pull.

With acting, you have to become someone else. That's the fun part of it for me - to step outside of yourself and become a character. I guess being Jimmy Cliff is a little bit of a character, too.

There are scripts when you fall so much in love with your character. And if you are lucky and offered this part, you should not tempt your fate and go to the greatest extent to be/to play this character. If you have an opportunity to do that and you do not, it's shameful.

For example, the character of Claire in In Dreams wasn't imagined enough by me. Annette Bening is a great actress, and she gave a great performance, but because I hadn't fully written it essentially the character wasn't finished.

I love working with new directors. There's so much drive and effort. It still comes down to the character for me, but if it's a character I really want to play, I would never not do the project because of a new director.

The interesting thing about doing serial television is that the character is growing separate from you, the character and the show are growing, and you get to observe that and participate with it in a way that I think is actually really exciting for an actor.

If you're doing television, you get to be a character for a long time, and the cast around you becomes like family. You get attached to playing that one character, and it's hard leaving them behind.

I like all of the books I work on to be ones you can pick up without knowing the entire history of the character, because then, not only can you enjoy it as is, but it encourages you to look into the history of that character and their world.

In 'Stree,' I play a character who believes that he knows everything. And I play a cop in 'Drive.' It is a different kind of a role. It is not a uniform-wearing character. The film is interesting, since it is a thriller.

Sometimes you'll see people give performances in comedy with an ironic detachment where they'll sort of be remarking on the character from outside of it. They're sort of commenting as they're playing the character. I think it's hard not to do that. I've certainly done that.

The best writers are gravitating to that world. What's rewarding also is this: you have a two hour movie, you can't really delve into character that much. In a TV show you can. You can delve into character. You can get into nitty gritty.

As an actor, you don't want to know the beginning and end to your character's arc. It makes it more fun. You're not playing the end. You're playing it realistically. You don't know where this character is going to go and what's going to happen to him, which just makes it more interesting for the viewers to watch. They're going on the journey with you, as the actor and the character.

I had the sets that meant so much to this character built - right in my home, especially the kitchen, which was important both for her character and for your introduction to her when Albert comes to visit.

When I'm writing a comic book, I'm thinking about a character that I'm going to be drawing on the page. I've never drawn a character to look like who I want to cast in a movie because I don't think that way. I'm a real monomaniac. I do one thing at a time.

A character has a distinctive voice - you should be able to hear them in your head and conduct a conversation with them while you're out walking. If the answers surprise you, you know it's the character speaking and not you.

It doesn't matter if a character is a lawyer, a cop or a geography teacher. If there's a story in there, where the character has a passion and a fire in his belly and story to tell, then it's enough for an actor to get excited about.

A Dickens character to me is a theatrical projection of a character. Not that it isn't real. It's real, but in that removed sense. But Sherlock Holmes is simply there. I would be astonished if I went to 221½ B Baker Street and didn't find him.

Somewhere in the back of my brain there exists this certainty: The body is no more than a costume, and can be changed at will. That the changing of bodies, like costumes, would make me into a different character, a character who might, finally, be alright.

I think anyone loves to play a character that is either evil to a certain extent or has a real definable character flaw. Those are always really fun, and, I think, funny.

The interest in character-driven content over narrative-driven ditto is increasing; that's why television steps in. Personally, I love it, since psychology and character, really, are my beacons.

Episodic TV is notoriously brutal because just when you think 'I've got this, I know this character' you can pick up the script for series four and you die in the first episode - or your character suddenly transitions from a woman to a man.

Strength of character may be learned at work, but beauty of character is learned at home.

As an actor, when you want to capture the spirit of the character, and the character exists in all of the iterations slightly differently, you work towards getting a sense of what the creators wanted to do, you know? Then, you work off of that.