Top 1200 Strong Female Characters Quotes & Sayings - Page 19

Women, we are so strong! It took me so long to figure that out, but I realized just how strong a woman is.

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.

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.

Character is higher than intellect... A great soul will be strong to live, as well as strong to think.

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.

I think for a girl to be strong, it doesn't have to involve being physically strong.

The true meaning of feminism is this: to use your strong womanly image to gain strong results in society.

I'm fortunate in that I'm what you call a utility player, in that I can take a scene, if there's five or six minor characters in a scene, that need voice and personality [and] I can supply those characters.

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.

A hijra is someone who has transitioned from male to female, but we don't consider ourselves female because culturally we belong to a completely different section of society. Many hijras are castrated, but it's not compulsory. They say it's the soul which is hijra. We feel we are neither man nor woman, but we enjoy femininity. I enjoy womanhood, but I am not a woman. It's very confusing.

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.

Before I begin a novel I have a strong sense of at least one central character and how the story begins, and a more vague sense of where things may wind up, but at some point, if the novel is any good at all, the story and characters take on lives of their own and take over the book, and the writer has to be open to that.

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.

I was raised by strong women, and the role models I had in music and cinema were strong, too - liberated and provocative.

I plan to break the barriers that people try to trap female rappers in. This isn't about 'Oh she sounds good for a female rapper,' it's about 'Yo, she sounds really good on this and can really rap!'

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.

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.

The prerequisite that people have a scientific or engineering degree or a medical degree limits the number of female astronauts. Right now, still, we have about 20 per cent of people who have that prerequisite who are female. So hey, girls: Embrace the very fun career of science and technology. Look at computer science. That's what I did.

I like to think that I represent myself as a strong woman, so to work with other strong women I find very inspiring.

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.

Only in 1999 and 1984 have we seen a persistently strong dollar and strong risk appetite harmoniously co-exist.

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 have a very strong faith in God, and I have a strong family base.

If you're a strong man, you should not feel threatened by strong women.

Clearly, we need a strong economy to build a strong military.

But we are strong, each in our purpose, and we are all more strong together.

At the start of the season you're strong enough to win the Premiership and the European Cup, but you have to be as strong in March, when the fish are down.

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

I believe in the strength and intelligence and sensitivity of women. My mother, my sisters [they] are strong. My mum is a strong woman and I love her for it.

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.

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.

I just want to play really strong characters that get to do really interesting things. But I would also love to play someone really vulnerable. When I first started my career, I tended to do a lot of things just to get the work.

There never was a strong character that was not made strong by discipline of the will; there never was a strong people that did not rank subordination and discipline among the signal virtues. Subjection to moods is the mark of a deteriorating morality. There is no baser servitude than that of the man whose caprices are his masters, and a nation composed of such men could not long preserve its liberties.

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.

This world… belongs to the strong, my friend! The ritual of our existence is based on the strong getting stronger by devouring the weak.

There aren't a lot of female story artists, and it's baffling to me. There are a lot of kids in school that are female and I wonder, 'Where did they all go?' People have brought it up, asking me, 'What did you do?' I don't really know. I puttered along, did my thing and gender has really never been an issue.

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 train my entire body to be strong. To be a professional athlete, we need every part to be strong - the core, the legs, arms.

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.

I like the style I have: I do Mexican wrestling things, I have strong moves, I look strong above the ring; a bit of everything.

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."

I really see Compton as a place with a lot of opportunity. It has a rich history, a strong community that has a strong sense of pride.

If you can do a lot of pull-ups, you don't just appear to be strong. You are strong.

A strong economy begins with a strong, well-educated workforce.

That cause is strong which has, not a multitude, but one strong man behind it.

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.

History proves that dictatorships do not grow out of strong and successful governments, but out of weak and helpless ones. If by democratic methods people get a government strong enough to protect them from fear and starvation, their democracy succeeds; but if they do not, they grow impatient. Therefore, the only sure bulwark of continuing liberty is a government strong enough to protect the interests of the people, and a people strong enough and well enough informed to maintain its sovereign control over its government.

Happy are all free peoples, too strong to be dispossessed. But blessed are those among nations who dare to be strong for the rest!

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

After playing such a strong character like Aditi Singh in 'Godha,' I was keen to play strong roles in Malayalam.

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.

The Democratic Party likes to remind people that the Russian force around that was very strong, remarkably strong.

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.

People are thrown off by someone who looks feminine, but is also strong. It's not that pretty girls aren't smart, it's that women aren't strong.

I'll do a strong eye or a strong lip - but both together? Not so much.

I feel that the thing about film and particularly about TV, actually, is it's being created now. We're living in the best time so far because there are many more women writing and women directing, women producing, and people are finally catching on to the fact that women want to go and buy tickets to see female characters and more than one in a film. So I actually think it's a very fertile time to be a woman over 40.

I read somewhere... how important it is in life not necessarily to be strong, but to feel strong... to measure yourself at least once.

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.

There is no need to fear the strong. All one needs is to know the method of overcoming them. There is a special jujitsu for every strong man.