Character Quotes
Most Famous Character Quotes of All Time!
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You've got to internalize the character. You've got to learn the words. These are separate things, but they work together.
Let no man write my epitaph... When my country takes her place among the nations of the earth, then shall my character be vindicated, then may my epitaph be written.
I'd rather be Vincent Price than a red-neck character actor. You can't predict what will happen.
Even with the lowest budget in the world, you better get some names in there; that calms people down. Then be sure your leading character is in a hurry.
I always considered myself as a character actor. I always try to be versatile to show different sides of human experience.
I've always remembered something Sanford Meisner, my acting teacher, told us. When you create a character, it's like making a chair, except instead of making someting out of wood, you make it out of yourself. That's the actor's craft - using yourself to create a character.
But for me, the challenge is how you turn a character into behavior. Once the director says 'action', you just try to live between those two worlds.
I spent lunchtime in a grave during the filming of 'Bloody Mama.' When you're younger, you feel that's what you need to do to help you stay in character. When you get older, you become more confident and less intense about it - and you can achieve the same effect.
Oh, that character was light years away from me. I'm not debonair. I'm not suave. I did wear tight pants, though, because I found out that it worked.
My fiction is almost always inspired by a character's need or desire to rise above him- or herself. No one is perfect and some of us have much adversity in our lives; it is those people who struggle to rise above their nature or background that I find the most interesting and heroic.
Firmness in enduring and exertion is a character I always wish to possess. I have always despised the whining yelp of complaint and cowardly resolve.
If a movie has three decent scenes and a decent character, I think, 'OK, at least they got that guy right.'
You need to learn that, unless your lead character is written in a way that one of the 20 movie stars want to play him, your movie will not get made.
An individual step in character training is to put responsibility on the individual.
Erudition - that is, reading, writing, and arithmetic - is taught in the schools; but where is the more important quality, character, taught? Nowhere in particular. There is no authorized training for children in character.
The interesting thing about Hain is that he's not a very interesting character. He's not fabulously clever. He's not a great policeman. He's not hugely charismatic. I'd describe him as a kind-of Chekhovian character. He's an ordinary bloke, to whom extraordinary things have happened. Which is quite hard to play, I have to say.
To portray an iconic character has been brilliant in itself, and to be able to do that on a show like 'Once Upon a Time' enhances that because the show puts a spin on characters and makes them very different and puts core values that are very different that aren't in the original fairy tales a lot of people relate to.
You never want to just be outrageous for outrageous' sake 'cause then it doesn't work, and it's not believable. You want to be as true to whatever character you're playing.
Ron Swanson is more than the MVP of the 'Parks and Recreation' squad, more than just the funniest character on TV - he's the perfect depiction of aggrieved American manhood at the twilight of the empire.
My roles in comedies from 'Austin Powers' to 'Tommy Boy' to 'Wayne's World,' were sort of comedic 'straight man' parts. My character on 'Parks & Recreation' is the comic relief in a comedy. To play a character that appears strictly for laughs is sort of new for me and really fun.
I was a Sedgewick without the smarts. It infused its way into me and I feel like it formed my character in a big way because of what I was exposed to.
Can I play a southern character? You betcha. Can I do the voice of Tourist Dad and Carnival Barker? Ya betcha. Can I do Fix-It Felix? Ya betcha. But I don't want to just play southern characters, so I hide it; I bury it. I tamp it down like a secret. Like a dirty little secret.
'Axe Cop' is an animated show that just started on Fox that is based off the comic book series. And here's the hook: it's written by a 5-year-old. This 5-year-old has a brother who's, like, 28 and is in the business, and the little brother kept coming up with all these awesome stories for this character he dreamed up called Axe Cop.
Domino is all about... as an actress and as the character that is going to be on the screen, you already allude to it: it's all about the sass.
I have done 'Shivalinga' because I liked the story. My character, especially, is very impressive.
'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.
I'm really normal. I play football, go to the beach, drive. We have dogs. I can imagine people calling me a character, but I'm Joe Straight.
I'd like to play every type of character, but only once. I like to expierence things.
My music is a very personal reflection of me, whereas, acting a role, that's a reflection of another character.
You can read a character that feels amazing, but if the world around it and all the writing around it - even the way the stage descriptions are written - don't feel just right, then you know there's no point in doing the project. No character is ever bigger than the whole film.
To have an opportunity to make a movie like Cabin Fever, you have to get stuff thrown on you or you have to fall into a pit of water. It brings you that much closer to your mindset as a character.
I think one of the successes of Gladiator is how we manage to turn on a dime the character from one thing to another where you believe he is one thing and he is something very different.
It is not possible to conceive a democratic Guatemala, free and independent, without the indigenous identity shaping its character into all aspects of national existence.
The Ricky that the public see, whether it be on screen as a character, in public, or on social media, is very outgoing, and I'm a bit of a class clown. Then those who are closest to me know that I can be very sensitive. I can be quite insecure about myself.
My character in 'Hollyoaks' went through absolutely everything! There's not one emotion where I'm going to go, 'I don't know how to play this.'
There is no need to smear my name or to defame my character for the sake of news.
The way we learn to write is the way we learn to talk: We listen to others and start mimicking speech, and that's how we come to become speakers. Writers you admire, you admire the way they plot, you admire the way they create a character, you admire the way they put a sentence together, those are the writers you should be reading.
It was tough to try to be serious in front of Halle Berry and Pierce Brosnan with all this stuff in my face. There's never been a character that's looked this extreme.
There is a difference between legitimate issues of character - someone's behavior - and the issue of whether someone who has done something wrong in their life, now because of those mistakes, can't talk about what is the right thing to do.
I didn't know how to kill off a character unless I was able, as a narrator, to get really complicated. Because it was a big deal. I'd never killed a character before.
Scouting ought to be about building character, not about sex. Period. Precious few parents enroll their boys in the Scouts to get a crash course in sexual orientation.
As actors, for the most part, there's that neuroses most of us possess where, in a day of watching, this character get killed off of this show, and that character get killed off of that show - one never knows.
When I do a mask, I do try to put a lot of character and a lot of expression into the sculpt.
I was playing this horrible part. I didn't didn't want to play it because the character was an awful racist. But I'm glad I did it because I met Sidney Poitier.
I wouldn't know how to write a weak female character. I read so much epic fantasy growing up, where you have these sword-wielding, in-your-face warrior maidens.
With 'Moreau,' it's been particularly confusing because I started out being the writer of the screenplay and then trying to be the director, then being moved from being the director and having to become the dog extra, it makes some kind of sense to suddenly become a character in the story.
I cannot think of any character below the flatterer, except he who envies him.
I constantly deal with being called Shaft, and I vacillate back and forth with people coming up to me about it. But it never ceases to blow me away with the impact that character had on my life and my fans' lives.
You have to sort of see the way that the character behaves, and what the character says and does, and claim it in the same way that you claim anything, really.
You know honestly I think there's a Dracula, a Wolf Man, and a Frankenstein's Monster in all of us. They are sides of our own character so that's why I think we can relate to them in terms of a 'I know how that feels' kind of thing.
This idea that a book can either be about character and feeling, or about politics and idea, is just a false binary. Ideas are an expression of the feelings and the intense emotions we hold about the world.
If you're writing a book that takes place in New York in the moment, you can't not write about 9-11; you can't not integrate it. My main character's view is the Statue of Liberty and the Trade Center. It doesn't have to take over, but it has to be acknowledged.
You can't take a character anywhere they don't expect the character to go. But within those confines is where creativity lies.
I was a very shy character, always feeling uncomfortable because everybody was stronger than I, and always afraid I would look like a sissy. Everybody else played baseball; everybody else did all kinds of athletic things.
The democratic and pedestrian character of the new Mass itself seems to invite the ditties that pass for hymns these days.
You've got to learn to survive a defeat. That's when you develop character.
I only have an awareness of what I'm trying to achieve as an actor and what my job as the character is to service.
Being an actor myself I realize that all actors believe they are qualified to play any role. If you showed me a script with a black woman character I would tell you that I could do it. That is what we do. We act as if we are someone else.
I'd always had a hankering to write some old-school sword and sorcery. And there certainly are advantages to that particular form - for one thing, you're able to go all-out on the imaginative front, with a lot less concern for the usual unities of time and space and character.
I think noir is an immensely powerful - and elastic - lens through which to look at narrative and character. It seems to access something dark and true in us that other modes of fiction are often a bit prissy about touching. But the key to making it work as time and culture moves on is to use the elasticity, not just the power.
It is always more fun to play a bad guy than to be yourself as you can create a character unlike your own and be someone you are not for a change.
Do you always do as you would like to do were it in your power? I find that circumstances force me often to act in a manner quite opposite to what I should prefer; I am, of course, judged by my acts, but do they really afford a true key to my character? I think not.
'My character wouldn't do that.' That was always my favorite thing people say: 'My character wouldn't do that.' I said, 'Well, it says right here in this script your character does that.'
I don't consider myself a comedian, but you work with some comedians, and sometimes these guys are incredible on their feet - it's just amazing - and that's not what I do. But it's always fun, and I don't really care as long as the character is interesting.
I make a playlist for every character I portray. Music plays a huge part in helping me understand a character. Every time I get a new role, I will take a chunk of time to just sit and listen to a bunch of songs and select the ones that make sense in my mind for that character. I can't even explain how much it helps me.
One of the greatest things about 'Continuum' is how great the writing is; our writing room is one of the most talented ones I've ever had. It really helps me as far as character development because they paint a very descriptive picture of who the characters are while still letting us have freedom to put in our own ideas.
I am looking for a character that connects to me on some level. It has to be about something, it has to have depth to it and it has to be about something. The story of the character and their relationship with the people and places around them appeal to me and are what I look for.
The delicate thing about the university is that it has a mixed character, that it is suspended between its position in the eternal world, with all its corruption and evils and cruelties, and the splendid world of our imagination.
A university's essential character is that of being a center of free inquiry and criticism - a thing not to be sacrificed for anything else.
There's really one character for every actor. The voyage is to find that one character.
In the process of developing a character, you do, in fact, start to take him on as a personality.
When I did 'Jump Street', I created that character; it was all me. I walked in and was just me. I could get out of bed and walk on set and be dressed.
We can alleviate physical pain, but mental pain - grief, despair, depression, dementia - is less accessible to treatment. It's connected to who we are - our personality, our character, our soul, if you like.
Well, I believe in the idea of 'normal' in the way that I believe in the idea of logic. Or the idea of character. All of these ethical constructs are just that: constructs.
I haven't scoured Dixie out of my voice. But I don't think that the books that I have written... have really in any way been Southern in character.
Sometimes you even start to sound like the character because you're living and breathing them every day on the set. It gets into your bones.
It must be remembered that the Bush White House has a separate talent for character assassination that must not be confused with a talent for governance.
I completely disagree with Arthur Brooks of the American Enterprise Institute on the need for dignity in the marketplace instead of the social safety net, but he is a very persuasive character.
You have to suspend disbelief a little bit to buy into your situation and to the story and to how the character will react. You have to tweak your credibility a little bit, is basically what it comes down to.
Often you find the character through the things they say. How they talk about other people, how they describe themselves - which is very rare.
There are many things in common with my life and my character in 'American Crime.' My upbringing has definitely helped me out in this role.
It's the texture of New York that people miss by filming elsewhere. There are layers and layers of character - even in the pavement - that you can't get anywhere else. And the speed that the people move. It's so different from other places.
I was miserable in West Side Story. They really miscast me. I came from the Midwest; what they really needed was a guy that was street smart. The first time I saw the movie, I had to walk out. I looked like the biggest fruit that ever walked on to film. My character was so weak.
I'm called away by particular business - but I leave my character behind me.
Keep everything in context, and try to have each line doing more than one thing - not just giving exposition but also revealing character and history, etc.
Rather than just making a movie about video games, I wanted to start with the character and what the character was going through.
There was a moment with 'Zootopia' where we said, 'This is the experiment: let's try Judy in the role of the protagonist. Let her character introduce us to the city and this world.' And suddenly, all that struggling and trying to make traction into this story was done.
Having grown up Protestant, I was unfamiliar with St. Francis. Then I watched the movie 'Brother Sun, Sister Moon'... I just became fascinated with the character of St. Francis. What I saw in that movie was a man who had fallen in love with God, someone for whom God was everything.
I don't know if it's the sunshine, or the fact that I actually have a job, but I do like L.A. a lot. In New York, it can be gray and rainy and cold, and you still don't have any money, and you feel like a bad Dickens character.
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