Top 1200 Real Character Quotes & Sayings - Page 5

When I get excited about a character, I'll start doing things as the character and thinking about what the character would do.

I played this character twice in live action, and now I've become an animated character. It was actually fun to see myself drawn - I've never been a drawn character before.

I realized there's a difference between creating a character and sustaining a character. The challenge that comes with sustaining a character is that you have this sudden impulse to think about all the things the audience liked.

It's a great responsibility playing a real-life character because the person has reached a certain position after undergoing a lot of things.

Comedy is all about the character. When you're too focused on the gags, the character suffers, and you don't get the laugh. Comedy has to come from the character.

When people see me in public, they're usually like, 'Whoa, you're a real person.' It's as if they're seeing Pinocchio or a cartoon character come to life.

I'm a big fan of character actors like Johnny Depp and Gary Oldman. My goal is to continue playing character roles in indie films and move into playing character leads.

Those who quit their proper character to assume what does not belong to them are, for the greater part, ignorant both of the character they leave and of the character they assume.

It's like real life: We don't get a preview of what's coming up, thank God, and we don't build our own character from what we're going to be informed with in the future.

I think the qualities I look for in a girl I'd like to be my girlfriend would be the way Lindsay's character is before she becomes a plastic. Very real.

Music helps define the character and is an extension of the character somehow, so that you are able to use both the songs themselves and the way that you sing them to tell something about the character and his story, as well as develop a performance style.

The leading character isn't always the most important or interesting character; when people think that the protagonist is the character portrayed, it's people who haven't read Shakespeare.

Well, I'm not a method actress by any stretch of the imagination so the best thing that I can do is be as real as possible and find whatever commonality in that character that I can see myself.

If you put a real leaf and a silk leaf side by side, youll see something of the difference between Homers poetry and anyone elses. There seem to be real leaves still alive in the Iliad, real animals, real people, real light attending everything.

See, all actors pretend. I enjoy that pretence. I don't wear heels in real life, but if it is for a character, I love to get into the traits of the person I am playing.

No good book has ever been written that has in it symbols arrived at beforehand and stuck in. ... I tried to make a real old man, a real boy, a real sea and a real fish and real sharks. But if I made them good and true enough they would mean many things

The way I approach acting when there's a real life character, it's sort of like a Venn diagram. What I come up with is some amalgam of the two of us.

All actors bring something unexpected to the role because they have to translate what's on the page and make a real character out of the black-and-white text that's there in the script.

In real life, I'm a large character, and I need the space and platform to be large.

If I have an audition, I go to the audition in character. I'm in character when I walk in the room. I mean, I'm still sweet to everyone, but I'm very much the character.

There's a kind of chemical spark that comes sometimes with the character, that you don't even have to think about how she is reacting, you just let yourself go. You just let the character take you, instead of taking the character.

You have to have a character; you have to build your character. If you understand the pro wrestling scheme of things, then you understand what the promoting is. These guys are friendly backstage, but as soon as the cameras turn on, it's a whole different story: you become that character.

I want to push that no matter what race you are, you're never just a sidekick or broken character. You're the main character, you're the funny character, you can be whatever you want.

Why does 'I Love Lucy' still make people laugh? Because she's a specific character who has real reactions.

One of my favorite things about the Kung Fu Panda 3 is the look of it. We never go for realism. I think a lot of time when people go for 3D that's the mistake. Because we're never going for full realism - for computer generated live action films like Avatar the goal is realism, to make the audience feel like they are seeing something that is real. Lord of the Rings had character design and environments to make it look real, whereas we aren't going for that, we are going for something that is theatrically, viscerally, and emotionally real.

If a character dies, you get to do a big, juicy death scene. But the flip side is you're out of the sequel, which is where the real money is.

It is said that “there is a self,” but “non-self” too is taught. The buddhas also teach there is nothing which is “neither self nor non-self.” Everything is real, not real; both real and not real; neither not real nor real: this is the teaching of the Buddha.

If anything, in the podcast world, I'm relieved that I don't have to dress like the character. I don't necessarily have to do all of the physicality that conveys the character, but do as much as I need to help me feel like the character.

Every character gives you something or the other, and you can't calculate it unless you are living the character. You learn something about the character that stays with you.

Missionary service is not only a test of faith but a real test of character.

Feydeau's one rule of playwriting: Character A: My life is perfect as long as I don't see Character B. Knock Knock. Enter Character B.

A black character is much more than just a black character; he's a character, period. So show the world as it is. Even with all your artistic license, you make a political choice.

If you have a great characters, you can always have your character do nothing or do something stupid, and people will still follow them, because they're so real and so tangible.

Many a real genius is lost in the fictitious character of the Gentleman. I am the most inconsistent, changeable being so full of fits and starts.

What does it say about a president's policies when he has to use a cartoon character rather than real people to justify his record?

I think character is real important. And you know, and I think the public does.

My character's kind of grown up with Katniss. The beginning of the story, they're more or less brother and sister than anything. They're best friends. They've been keeping each other alive. It's a little frustrating, for the character. As the character, not as me.

As readers, we want not only a strong story, but also characters we can relate to, characters that feel real. We have to find something of ourselves in them. Each character, even those only there to serve the mechanics of the plot, should have a number of layers. The entire world you are stepping into as a reader must feel real. It must have resonance, you must be able to touch the light; smell the smells.

When you play a character that's someone real, when you're playing a true story, it's really great, 'cause you're not pretending to make up some silly thing.

If you put a real leaf and a silk leaf side by side, you'll see something of the difference between Homer's poetry and anyone else's. There seem to be real leaves still alive in the 'Iliad,' real animals, real people, real light attending everything.

We're a band's band. We have real songs, real players, real problems. Real ups, real downs.

The measure of a man's real character is what he would do if he knew he would never be found out.

I don't think there is a fictional character who resembles me because fictional characters are not real!

Any actor who is being honest will admit there's always a small or large part of the real you in every character. It's impossible not to have that.

It's challenging to play a real-life character because you know that it existed in the history and you have certain parameters to follow and stay within.

The dozens of people working on this at Digital Domain, they knew that you couldn't get away with almost photo real, because we had real real in the room. You have real real in the cut every four or five shots, so you have this constant yardstick built into the footage by virtue of there being no real robot there. So it became the standard of photo reality that the VFX team had to match.

A real sacrifice involves a radical change in the character of a game which cannot be effected without foresight, fantasy, and the willingness to risk.

When you play a character that's someone real, when you're playing a true story, it's really great 'cause you're not pretending to make up some silly thing.

The interesting thing is, when you play a real-life character or someone based in a book, you always come up against people's preconceptions of what they have in their heads.

I think I think in the moment. So when I'm in character, I'm in character, and I'm obviously thinking about what's going on around me, but it's easier to do stuff when you're in character.

There has been abroad many times some criticism of our Government, of our people, and our ways, but that has demonstrated, I think, that when they are in real trouble and real difficulty over there, they turn to us as a nation that will be fair with them--one in whose judgment and in whose character they can rely; and that not withstanding differences that have seemed to exist, they are willing to abide by the faith that they have in us, and I think that is a very substantial accomplishment.

This character matters so much to so many people. I want to get that right. I want to do it justice. I want people to believe in the character and have faith in the character and kids to grow up wanting to be Superman. Or, God forbid, there's people who are going through hardship and wishing that this character would turn up and save them.

Stephen Moyer is probably the most gracious, gifted actor that I've met. He's really intelligent. He has a real sensitivity to his character, to scenes, to scripts.

You've got to be happy when you play a sad character; otherwise, you just get depressed. Make your real life as fun as possible.

We shouldn't confuse singers and performers with actors. Actors will say, "My character this, and my character that." Like beating a dead horse. Who cares about the character? Just get up and act. You don't have to explain it to me.

The real purpose of the martial arts must be to purge oneself of petty ambitions and desire, to obtain control of one’s own character.

When a new writer defends his "style," the teacher smiles (or cringes) because real style isn't an artifice. Real style - voice - arrives on its own, as an extension of a writer's character. When style is done self-consciously and purposefully it becomes affectation, and as transparent as any affectation - an English accent on an old college chum from New Jersey, for example.

I like to create a character where you believe, deep down, that they don't really care if they live or die. That's very liberating for the character because, if the character is prepared to die, then they can do anything. It's impossible to stop them.

When you start out on a project as an actor, you know, you approach the character from the standpoint of maybe writing a list - even if it's a mental list that you make - of the adjectives that the character has or that character possesses.

I would never make up a character who didn't exist or an event that didn't transpire. If you're a real writer, you have other tools in your toolbox to build drama.