Top 1200 Strong Female Characters Quotes & Sayings - Page 16

You need the audience to become invested in the characters and in order to become invested, they need to identify with the characters... and that's why the characters need to be real.

Soha is a very balanced and intelligent girl. She does advise me at times. We do discuss films but the decision rests with the individual. We are both strong characters and so at times our fights turn volatile. But me being a Gemini, I blow hot and cold, so I usually patch up in 10 minutes.

Well, the thing about great fictional characters from literature, and the reason that they're constantly turned into characters in movies, is that they completely speak to what makes people human.

You definitely do not do films for that particular reason. You do them for yourself, for your satisfaction of creating this thing with characters and watching these characters take on real life - that's all you care about.

I'm really interested in male and female brains and whether female brains or male brains are better at maths.

I mean, at the end of the day we're still telling stories and so we're just trying to stay focused on characters that we love and we've loved characters in all of our movies.

I've always liked shape-shifter characters. I gravitated towards characters like Mystique from 'X-Men,' Zam Wesell from 'Star Wars,' and Tonks from 'Harry Potter.'

I've written original material before, where I've come up with the idea and the characters myself, and that's definitely very different to working with someone else's characters and stories.

The female psyche is inherently self-sufficient, because female sexuality is inherently self-sufficient. I think women are maybe more comfortable, or women are able to find physical beauty in each other that doesn't terrify them.

I love characters that are going through turmoil. To be honest, I love characters with conflict. I love characters who are really going through an emotional journey; whether it's a super-dark-crazy journey or a really relatable guy.

To be labeled as a strong woman when you feel vulnerable is a strange place to be, because then you're, like, "Oh, I have to be strong now. But I don't feel strong. I feel alienated. I feel isolated. I feel that things are very surreal, and they're not authentic, and this is all just very overwhelming."

All the people in Star Trek will always be known as those characters. And what characters to have attached to your name in life! The show is such a phenomenon all over the world.

At the beginning of the project, I wasn't certain that I could come up with an engaging storyline and cast of characters in this world, so I had a strong bias toward actually writing, and worrying about research later. In other words, I was afraid that I'd devote a year or two of my life to grinding through Kant and Husserl, then discover that there simply was no novel to be written here.

One of the reasons I never had a problem handing over my characters to other creators is that I knew that they would add their own influences and takes on the characters and make them better for it.

The triangle pointing downward is a female symbol corresponding to the yoni and the upward pointing triangle is the male, the lingam ... When the two triangles are interlaced, it represents the union of the active and passive forces in nature; it represents the male and female elements.

The strong conquer the weak. The weak serve the strong and hope to become strong so they can conquer others who are weaker.

I am already inducted into the female boxing hall of fame and I don't know if the International Boxing Hall of Fame has any females in it. I don't know and if I don't, I'm ok with it. At this time in my life I understand that. I never want to say I'm the greatest fighter as a female.

The intricate and different life cycles of both male and female root-heads, and the great behavioral sophistication shown by the female in reconfiguring a host crab as a support system, all underscore the myopia of our conventional wisdom in regarding rhizocephalans as degenerate parasites because the adult anatomy of internal roots and external sac seem so simple.

When you're in sync with the director, on the type of movie you want to make, the arc of the characters, how the characters intertwine and interact, plotlines and story, and things like that, it really makes a difference.

I try to make my characters kind of ordinary, somebody that anybody could be. Because we've all had loves, perhaps love and loss, people can relate to my characters.

Essentially and most simply put, plot is what the characters do to deal with the situation they are in. It is a logical sequence of events that grow from an initial incident that alters the status quo of the characters.

I don't think about the gender thing very much. But when I speak at schools, I've had female students say to me afterwards, "I never envisioned myself being a director, since I've never seen women do it." But after seeing me, they can picture themselves directing, so maybe we'll see more female directors.

I think, almost, the film industry thinks that by making gay characters super masculine, it's an attempt at saying being gay is OK if you act like straight people. I don't think we should just have gay characters who are 100 percent femme, either. I just think it's about that mix and creating more diverse gay characters.

The movies I did before were movies with a lot of characters, a lot of locations, and low budgets, which meant that I was running all over the place and never had the chance to build a relationship with an actor. I was always having big, strong relationships with the cinematographers or editors or production designers, but not with the actors.

If your home market is strong, you can be a strong global player because you have scale and can bring down the cost of production and remain competitive globally. When we started, our home market wasn't strong, so we had to do more business globally.

I rarely return to characters. My characters, at least most of them, are much more a part of that superorganism that is the story than separate and independent creatures.

I don't have a problem if someone else were to say that one of my characters is a good one and another one is not and is a bad one. I try myself not to have any judgment towards my characters, but certainly the audience might.

I look forward to playing characters where I want to play the ordinary, to be honest... Farmer's wife, tailor's daughter, the teacher characters that exist for real emotions.

We generally pretend to be something to survive in a society. So the characters I play, I want them to be wholesome characters. They are not necessarily the most wise people, but they do have a heart and soul.

In the beginning, the feminine principle was seen as the fundamental cosmic force. All ancient peoples believed that the world was created by a female Deity... female deities were gradually overshadowed by or incorporated into the attributes of a number of male gods, then eclipsed by the ascendance of the single male deity that dominates the Judeo-Christian tradition.

Surely the test of a novel's characters is that you feel a strong interest in them and their affairs the good to be successful, the bad to suffer failure. Well, in John Ward, you feel no divided interest, no discriminating interest you want them all to land in hell together, and right away.

I sometimes get asked: 'How come the men in your stories don't have such strong characters?' And I'm like: 'I don't care.' I just want to find out about all the different lives a woman can live. But my feminism has never been against men. It's not erasure; it's just they're not the focus. In real life, they're quite nice.

I see this with experienced writers, too: They worry so much about the plot that they lose sight of the characters. They lose sight of why they are telling the story. They don't let the characters actually speak. Characters will start to dictate the story in sometimes surprising, emotional, and funny ways. If the writers are not open to those surprises, they're going to strangle the life, spark, or spirit out of their work.

One thing I think is really important is chemistry, and if actors have chemistry, audiences will pick up on that. Audiences will root for characters that don't even exist as a couple because the actors' chemistry is so strong.

Here's my feeling: For everyone, men and women, it's important to be a feminist. It's important to have female characters. It's wonderful for women to mentor other women, but it's just as important for women to mentor men and vice-versa. In my line of work, having Greg Daniels be such a great mentor to me is fantastic. Finding a writer's assistant, be it a man or a woman, and encouraging them to think with a feminist perspective, is key.

There are twenty-four characters in this book named Max. Let there be an end to this silly business of authors never giving their own names to characters in their novels. False modesty, faugh!

The dumber half of the audience - whether they're male or female, and a lot of them are male - for some reason responds very quickly to the feminine voice. How can I put it? They kind of instantly react to the female voice in a positive way quicker than they would the male voice.

Male menopause is a lot more fun than female menopause. With female menopause you gain weight and get hot flashes. Male menopause ? you get to date young girls and drive motorcycles.

The established characters are easy to recall. I don't know why, but they come back to me instantly when I need them. It's the one-time-only characters that I don't remember where the voice I used came from.

There's so much about Dolly Parton that every female artist should look to, whether it's reading her quotes or reading her interviews or going to one of her live shows. She's been such an amazing example to every female songwriter out there.

I populated 'The Bourne Identity' with real characters from American history, specifically characters from the Iran-Contra affair, which my father ran the investigation of. But at the heart of it was a fictional character.

Women are clearly the major consumers in far more than just female categories. It doesn't matter whether it is purchases of cars, cosmetics, or even products for men, female consumption power is the leading consumption power in the world. Any company that overlooks the woman as the decision maker is making a huge mistake.

Look at the Coen brothers. All their minor characters are as interesting as their protagonists. If the smaller characters are well-written, the whole world of the film becomes enriched. It's not the size of the thing, but the detail.

What's a problem with India, in particular, is female feticide - aborting a female fetus. It is unacceptable and illegal, but it happens on a large scale. Then there's also the killing of baby girls. Female feticide is pretty much middle-class, Indian experts say. This is not happening among the poor; they just have to keep bearing children and hope they live. This casts into doubt the spurious argument that we just have to wait until everyone's middle class and then all of this will sort itself out. Better-off women will have fewer children - but at what cost?

It is not as common as female/male prostitution, but yes my friends and I had female clients. But this is a request that most girls are not willing to do. No, we never saw it as anything different, because if ladies were paying for an escort, they were still considered our clients, and they were treated as such.

I don't want to see the dollar strong because the rest of the world is crumbling. I would like to see the dollar strong because the Fed has said it wants it to be strong in the future.

I like a strong male, a strong man. I like strong men.

As a male, I thought the female voice was so strong, unique, real and accessible to most females. In some way, shape or form, they felt like they could relate to it, on some level, because they went through some form of unspeakable horror like what Kilgrave did to Jessica [Jones]. That, in itself, is something that most people shy away from, even in shows that are on cable or in movies.

When I look at my body of work, I've played a lot of characters who are morally conflicted - 'I'm right, no I'm wrong, I don't know what to do!' I want to play more characters who don't care as much, and who aren't as measured. They are what they are, no apologies.

The truth is these characters [of Batman story] evolve, and there's a lot of hands in the supporting of these characters. It's great when everybody can know where everything came from. It's important for the legacy of them.

So much of what I do... is coming up with new characters and trying to invent voices for them, and to have people fully fleshed out in my head and to know who can say what in the scene and who these characters are... I love it.

In the past that you should choose a list of female action superhero movies that haven't worked. I don't believe they haven't worked because they had a female in the lead, I believe they didn't work because they weren't good. They weren't technically well done movies.

Even in horror novels where you know most characters aren't going to make it to the end, it's crucial to have fully fleshed-out characters. If you don't do that, the reader doesn't care what happens to them.

But actually making pictures to look like my pictures, I've done it for so long, I'm kind of used to it now. So at the beginning of the process, designing and storyboarding everything, I sort of did all that. And then designed the characters, and doing the textures for the characters, and the texture maps to cover all the animated characters and the sets, I did those, because that's where my sort of coloring and textures get imprinted on the film.

That's a long way of saying no, I'm always too bound up in thinking about the characters in whatever I'm working on and trying to make good to dwell on characters from previous books.

What I think is wonderful is that women are not just avengers or victims in films. They are people. They are characters. It's so refreshing. They're playing different kinds of characters, and they aren't being typecast.

In a novel there's not much autobiography. There are characters in transit. Naturally, I can project something of my experiences onto the characters, but they have their own autonomy, a personality that is often a mystery to me.

It's necessary to track characters all the way through an opera. If you're dealing with more than one or two characters, it's very easy to forget that the others have lives of their own that feed into the story.

The world cries for men who are strong--strong in conviction, strong to lead, to stand, to suffer. I pray that you will be that kind of man--glad that God made you a man, glad to shoulder the burden of manliness in a time when to do so will often bring contempt.

I'm not the only one; most people's mothers are the most influential person in their life. But my mother survived the camps, and she was very strong. She made me strong, but she wanted me to be strong. That's more important.