Top 1200 Real Character Quotes & Sayings - Page 6

Truly a legend in our time, John Templeton understands that the real measure of a person's success in life is not financial accomplishment but moral integrity and inner character.

I've been lucky that even when I was younger, just because of my look or whatever, I was afforded the opportunity or called on to try. 'Can you do this Hispanic character?' 'Can you do this Italian character?' 'Can you do this Jewish-American character?' I just had to develop a facility for their accents.

I think you've really got to cling to what makes sense to you. Obviously, I'm not a serial murderer in my real life, so that's where you have to delve into and do all the research. But, you have to find something likable in the character.

The more we study the Indian's character the more we appreciate the marked distinction between the civilized being and the real savage.

When you work on a pre-existing character, when you end up getting invited to be part of a legacy character like Superman, I don't feel like it would be true to the character if all I did was go in looking to express my own voice.

I know people with PTSD, and it's very real and very hard. But it doesn't change your core character.

The screen is a window through which one sees a virtual world. The challenge is to make that world look real, act real, sound real, feel real.

As an actor, I function from a place of compassion and empathy - you have to believe 100 percent what your character is doing, because otherwise it will look like it's not real.

Musically, though, you're a character and you're singing a song. If you're not your own character, you're the character in the song, most of the time. Even blues musicians, a lot of them who were the most realistic, at times, they were singing a song and portraying a character in the song. There's something to be said for getting involved in the emotion of a song, too, with the characters.

Real people had real agendas, real demands, real expectations about how other people should behave.

My aspirations are to ennoble Photography and to secure for it the character and uses of High Art by combining the real and Ideal and sacrificing nothing of the Truth by all possible devotion to Poetry and beauty.

I have my ethics and morals. I have my anchor point of what is right and wrong in real life, but I'm not afraid to entertain any and every aspect of personality in relationship to creating a character.

It is only in romances that people undergo a sudden metamorphosis. In real life, even after the most terrible experiences, the main character remains exactly the same.

When writers don't know what to do with a character, they build up the supporting cast and universe to kind of hide that fact. After a while, you can no longer see the character for the underbrush. When that happens, you need to bring out the weed-whacker to clear some of that away so you can focus on the main character.

If you're going to have a character appear in a story long enough to sell a newspaper, he'd better be real enough that you can smell his breath.

Character - We describe the character of a person in reference to moral judgments about the worthiness of a person. Thus, to have a strong, great or honorable character is to be a person of merit, worthy of admiration and honor.

The only virtue a character needs to possess between hardcovers, even if he bears a real person's name, is vitality: if he comes to life in our imaginations, he passes the test.

As to the "traditional filler of twenty-first century realist fiction," maybe that is something I avoid. I don't relate to standard psychologizing in novels. I don't really believe that the backstory is the story you need. And I don't believe it's more like life to get it - the buildup of "character" through psychological and family history, the whole idea of "knowing what the character wants." People in real life so often do not know what they want. People trick themselves, lie to themselves, fool themselves. It's called survival, and self-mythology.

Because as an actor, I really feel you cannot judge a character. You have to totally commit to that character. And for me to totally commit to the character, I have to find those places where I understand the sequence of behavior.

That's, to me, the ultimate goal - to disappear inside another character and bring them so fully to life that I've convinced other human beings that it's a real person.

I don't care if you hate me or if you like me, as long as somebody gives me a character that is really a character to play. It's fun to be able to have a character and have a director that can direct you into a character. I'm just so happy that I got a good role. I don't care if it's bad or if it's good, and I don't care if it's drama or comedy. They are just so rare to come across.

I came from stage in high school, and on stage you kind of overdo with putting on a character a little bit. Sometimes you become a character and sometimes the character becomes you.

I read the script and decide if a particular character looks fun to play. I look for complexity and a sense of humor. Those are crucial, real things to life.

The real ornament of woman is her character, her purity.

[Lauren Ambrose's] character [in Can't Hardly Wait] feels real and unexaggerated and becomes sort of a heroine archetype. I think that was cool. It wasn't in every one of those comedies.

How often do you get a movie where the coolest character has your own real last name? I played Bob Morales as a cross between my own father - the passion, the fury - and the real Bob Morales. I loved that movie. People, kids always come up to me and tell me how much they still love 'La Bamba.'

There's a real, brutal nature to the capitalism practiced by the main character in 'How to Get Filthy Rich in Rising Asia.' And I think playing dirty is certainly part of that.

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

It's so fun because the Carmella you see on 'SmackDown Live' is so different to me. It's great to be able to portray this character in a way that I never would in real life.

In 'Road,' my character is linear and uni-dimensional. It was more of a reacting character. I am a foil to the other characters in the film. It is the most normal character in the most abnormal, extraordinary film.

A character like Baahubali required a preparation that I had to undergo mentally and physically - from undertaking a strict routine and a lifestyle, which helped me become the character physically, to knowing the character's depth and a lot more.

Joker' is, of course, a character of my generation grew up with, and it's a character you know really well and have strong opinions about. He's been a larger-than-life character in fiction. He's one of these rare characters that have had such strong performances.

The Doctor character originated from playing Halo 2 on the Xbox and it had proximity chat where you could engage with someone in real-time on the microphone, and I loved that; I ate that up.

This is a corny actor thing to say, but the first step is that you can't judge the character that you're playing. If it's built in three-dimensional fashion, you'll just play a character who's going out and seeking the best version of their life that they can find. That gives the character an accessibility that everyone can identify with.

We build character in order for us to withstand the rigors of combat and resist the temptations to compromise our principles in peacetime. We must build character in peacetime because there is no time in war. Character is the most important quality you can find in any person, but especially in a soldier. It is the foundation that will get anybody through anything he may encounter. Reputation is what people think you are; character is what you are- that is the staying power.

I abhor badly-written characters and any character, be it man, woman, any character in the film. If it is a well-written character, it will come across as strong.

While I find inspiration in real life, the actual stories are, thankfully, works of fiction - which, given the considerable turmoil in my character's lives, is probably a good thing!

Once I hit 45, there was a real downturn. But I got an incredibly provocative, delicious lead role in a television series called 'Saving Grace,' and I loved the character.

Between ourselves and our real natures we interpose that wax figure of idealizations and selections which we call our character.

Scarce any man becomes eminently disagreeable but by a departure from his real character, and an attempt at something for which nature or education has left him unqualified.

There is no one-size-fits-all process. It differs from character to character and priority to priority. Every project has a different priority, and you have to be agile enough physically as well as mentally to shift from one character to another. I think I am fairly decent in that.

You know how it always is, every new idea, it takes a generation or two until it becomes obvious that there's no real problem. It has not yet become obvious to me that there's no real problem. I cannot define the real problem, therefore I suspect there's no real problem, but I'm not sure there's no real problem.

It makes it fun. When an actor plays a character, you want what that character wants. Otherwise it doesn't look authentic. So I really want to defeat Jimmy - I mean Jimmy as the character.

When you play a real person, you feel a sense of responsibility that obviously you don't feel when you're playing a fictional character.

Sometimes I don't know whether I'm real or whether I'm a character in one of my novels.

I do feel privileged to play Elektra, because definitely she is a strong female character. She's a strong character. It would be nice if eventually we'd just say she's a strong character, not a strong female character.

Nobody's really unsympathetic, I think. People do good and bad things. If a character's totally unsympathetic, they're not real and I'm not interested.

Real freedom comes from the mastery, through knowledge, of historic conditions and race character, which makes possible a free and intelligent use of experience for the purpose of progress.

I take stuff from real life and try to make a character out of it. And I try to live the world of the characters a little bit.

But in the life of every man there are influences of a far more real and penetrating character than those which come through the medium of schools or teachers.

Which of us has not felt that the character we are reading in the printed page is more real than the person standing beside us?

There is no privacy that cannot be penetrated. No secret can be kept in the civilized world. Society is a masked ball where everyone hides his real character, then reveals it by hiding

Every part I play is just a variant of my own personality. No real character actor, of course, just me.

Stage is so important because it teaches me how to convey character with words - how to convey how a character reacts by the way they appear on stage. I can usually tell a playwright from someone who has never written for the stage. Did the character work? Did the dialogue reveal who the character is?

It's relatively easy to create an ambiguous character. Any conglomeration of likable and unlikeable traits, chosen at random, will result in an ambiguous character. Getting an audience to deeply identify with a character, on the other hand, is one of the hardest things in the world to do.

Since I am first of all a character writer, that character's emotions are as vivid to me as my own. I always begin with an emotion after I have established a character in my mind. I feel what they feel. I guess that is why it comes across so strongly.

It gives me real concern to observe ... that you should think it necessary to distinguish between my personal and public character, and confine your esteem to the former.

There is nothing like being able to develop a three-dimensional character over a long period of time. Sometimes you aren't able to fully portray a character because you only have a couple of scenes to do it in, and you don't get the full life and background of that character.

As a writer, you have to put yourself in service to the character, get behind their eyes by delineating the world where the character develops. You have to listen to the character and see him inside his certain world to know what conclusions he would draw.

You can be empathetic to a character in a book in a way that you can't with a real person, which is weird, because you know everything there is to know about them.