Character Quotes
Most Famous Character Quotes of All Time!
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I'll tell you what I really enjoy. We all go to the movies, we all watch television, we know what they're about, how they work. When the main character is a cop or a spy, it's very exciting, but I also very much enjoy when the main characters are nobodies - a trucker.
'Desperate Housewives' is an ensemble cast, where I played a tertiary character. I made a lot of great friends, but that show didn't keep me very busy.
I kinda lose my mind in 'Fringe,' or at least my character does. Whenever I'm acting, I tend to accidentally become unable to switch off the character. I'm a little bit of a method actor, but without really wanting to be.
I'm very kinesthetic, and when you're that way, you just feel it in your body. I know that other actors think with the logical part of their brain, but I wear my character inside my body, even when I'm away from the set.
I've been acting my whole life. I have this huge imagination! I'm a dancer and my mom's a dance teacher, and I was always performing and entertaining people. I'd go to see live theatre or a movie, and I'd become the main character for a few days afterwards. I loved being somebody new for a temporary amount of time.
I'm not the kind of actress that goes home with the character. I mean, you're thinking about the work or the next day's scenes, but not staying in character. But as a film goes on, you become more and more fragile, emotionally. And physically too, actually.
When someone on screen portrays a character that behaves in a way you don't expect, you're subverting ideas. So if there's a Venn diagram between why people are drawn to the characters I play, it may be that. But I'd like to think that the craft of acting and the choices I make as an actor are drawing people on their own merits.
As far as being a plus-size woman, I play a plus-size character by default, and for me, the visibility - that, I think, is key.
Improv is such a huge part of my background, and a huge part of character discovery is really being inside the character and trying to think through them without the limitations of the script.
I think every major character I've played was originally for an older woman. I have no idea what that says. I guess I'm mature for my age.
I'm drawn to the romantic aspect of a character. It's human emotion. It's much more fun to watch. And it's much more fun to play.
Anne Boleyn is an intriguing character. She seems to appeal to modern-day women in a very potent way. Because she was such an independently opinionated and spirited young woman, which at the time was unheard of.
Pujara is not fashionable, he's very much old-fashioned - he's not great between the wickets and he's not a modern, extravagant, in-your-face character like Kohli, Dhawan or Pandya.
Great ambition is the passion of a great character. Those endowed with it may perform very good or very bad acts. All depends on the principles which direct them.
You start thinking about a character in a new book, of course you're going to think pretty soon, 'Well, what's their secret? What is their problem?' Maybe, 'What is their secret?' is another way of saying, 'What is their problem?' There's got to be some issue, or you've got a totally boring book!
When a story is flying along, and I'm so into it that my 'real' world goes away, it can feel magical. I cease to be, my desk and computer ceases to be, and I am my character in his world. Psychologists call this a 'flow state,' and it's better than publication, money, awards, fame.
Your opening should give the reader a person to focus on. In a short story, this person should turn up almost immediately; he should be integral to the story's main action; he should be an individual, not just a type. In a novel, the main character may take longer to appear: Anna Karenina doesn't show up in her own novel until chapter eighteen.
Pace, like everything else in writing, involves a trade-off. If you're not offering the reader a lot of action to keep her interested, you must offer something else in its stead. Slow pace is ideal for complex character development, detailed description, and nuances of style.
A brief short story may require only a few paragraphs after the climax. On the other hand, in his massive novel 'The World According to Garp,' John Irving's denouement consisted of 10 separate sections, each devoted to an individual character's fate and each almost a story in itself.
Movies don't look hard, but figuring it out, getting the shape of it, getting everybody's character right and having it be funny, make sense and be romantic, it's creating a puzzle. Yes, having been a writer for so long, I have an awareness of when things are going awry, but it doesn't mean I know how to fix them.
When I was growing up as a young lesbian in the '50s, I looked in vain for books about my people. I did find some paperbacks with lurid covers in the local bus station, but they ended with the gay character's committing suicide, dying in a car crash, being sent to a mental hospital, or 'turning' heterosexual.
Had I not gone through the struggles and the obstacles I had, I would not be as strong as I am today. I believe those impediments have forged, shaped, and strengthened my character.
My character and my behavior is not for politics. I say what I think. I'm too liberal.
You try not to become so emotionally attached to your character, but you do.
I always give much attention to military character and to psychological and morale conditions.
The happiest ones are those who have a character which would prefer their services to be unknown to all generations.
When I was trying to achieve my goal, I started training. I became a character, and everyone was expecting me to become the 'Prince of...' or the Middle-Eastern, and I wanted to wear a mask, and I wanted to be like a luchador from Mexico. And people asked me, 'Why are you putting a mask on?' And the truth is, I did not want to deal with who I was.
My message to everyone is that we truly are one, and the minute you see me as the person, not just as the Muslim - when you see me as Adeel Alam and not just the character on TV - when you see past all of that, we are all the same, and we are all just one.
I loved wrestling, and I wanted to go out and entertain people and all that stuff, so I get trained, and when they decided, 'Hey, you're ready for a match, and you've got to start thinking about a character,' I was thinking this guy and this guy, and they go, 'No, no, no - you're a Muslim. You've got to be a bad guy.'
It may, however, be said that the level of experience to which concepts are inapplicable cannot yield any knowledge of a universal character, for concepts alone are capable of being socialized.
For me, what is more important is the challenge the character poses for me as an actor.
The story of 'Lalpan Bibi' impressed me and my character also. It has all the ingredients of a great commercial masala movie.
Stars can never replace strong character actors in roles that demand histrionics.
In my forthcoming movie 'Jerry,' I play a funny character, where there is scope for me to perform. I hope people would appreciate my performance. Hence forth I would concentrate on doing variety of roles, rather than appearing in skimpy costumes.
I have never been stereotyped in one kind of character. I have been a part of reality shows, events, singing and dancing. No one has ever told me, 'She will fit only in this character or this look.' It has never happened to me, luckily.
I have never done a show based on whether it will work or not. I took up all my shows because I liked the character and wanted to be part of those shows.
More than the hair and the makeup, what is important is to feel the character.
To be honest, even I was tanned three shades darker in 'Love Sonia.' The fact that people were able to connect to my character was very important. Why should we not have that kind of makeup?
I hope I can be a filmmaker where every movie will be different, and not make one type of movie. I'm always looking for a character that interests me.
To do a movie about someone who actually lived gives you two responsibilities. You have to try to be accurate to the facts of what he did and what he was like as a character. Then, at the same time, you have a responsibility to make a movie that entertains and can get an audience.
I used to get stuck trying to find the first sentence of a story, then I realised that it was often because I didn't know what problem a character was facing in the story. As soon as I did, I could have the character trying to do something about it or have the problem whack him between the eyes.
I thought I would keep the first name Susan and change the last name but I picked up this book and as I opened it the lead character in it was called Morgan Brittany.
The only time in my career prior to that I played an evil character was in 'The Twilight Zone'.
Still, it can be more effective to accomplish what you need to accomplish with the minimum effort. Watch Anthony Hopkins. He doesn't appear to be doing anything. He is so still that you can't see him working, but you are drawn into his character through his very stillness.
I know it sounds silly, but in auditions for film or TV, the words aren't as important - you need to get into the character and have the gist of the scene. But in theater, if you don't do it word for word, then you throw off your scene partner.
In the morning, I'm like the Antonioni movies. I'm little sad. I haven't the courage to start the day. In the evenings, I'm happier, more alive - like the character I play in 'An Almost Perfect Affair.'
My character, Taylor McKessie, is a little bit brighter in the math and science department than I am... okay, a lot.
I love the idea that somebody is going to compare me to my character or think that I am like my character when they see me. I feel like that is a role that I am willing to fulfill.
Unlike President Obama, President Nixon was a capitalist who did not believe in 'remaking' the very character of America.
I'm very much a believer in the character always heading for something or after something. But that doesn't always have to be a selfish thing - it could be an altruistic thing as well. You can't play good; you can't play evil. But you have to think: what does this person want to happen in this situation?
I'm probably an actor that tends to, instead of putting things on, think about it more in terms of taking away what's not in the character, until I'm left with what is. If that makes sense. That's probably a particularly American way of working, but maybe not. The end of any movie is a readjustment.
I really want to do a dark character. Not really a bad guy, but someone dark and mysterious. Where everyone says, 'Ooh, it has to be her!' and at the end you find out it isn't. Just someone who looks guilty.
I've never felt powerful enough to write a true political novel, or deeply knowledgeable enough to draw a character like, say, Tolstoy's Prince Kutuzov.
When I'm writing a story, which takes me a year or more, I can feel my character living with me - they're responding to whatever funny, familial, or social situation I'm in, and I think about their responses constantly.
'Oppam' is more of a director's movie, especially because I play a visually-challenged hero in it. The character doesn't have a perspective, and so cameras aren't placed like how they are usually done in other movies. The angles and the way the scenes are captured are different.
We tend to have so many more close shots, which compels an artist to actually put in more effort than it is required otherwise. So, it is the expressions on the face, and how an actor presents his or her character, that really makes a scene. In such ways, Mollywood is a fabulous training ground for actors and actresses from other industries.
While I was doing the first season of 'Girl In The City,' a lot of people remembered me through my character name. None of them knew my real name, and my onscreen name, Meera, became my identity.
At a Metro station, I got called out by my character name - Meera - and I realised that I had started responding to that quite intuitively. It was quite a funny moment.
When you're doing lots and lots of episodes and you're playing the same character, it's great because you really get to know the character and it becomes a really fast style and you find subtleties in it.
I wouldn't want to play a character that knew everything and knew where to go. It is much more interesting playing a character that is vulnerable trying to be strong. It makes for better TV.
I like when an audience doesn't know what's going to happen to a character, and I like when I don't know. I'm learning, too - I don't get the script, like, until the last day.
I stare out the window and reflect on the similarity between writing and saving a life and the inevitable failure of one's imagination and one's goals and ambitions to create a character or a life worth saving.
I've won fair-play prizes, but that's just my nature, my character. This is who I am, and I do not feel the need to hide the real me.
I think I find new idols every day - someone that says something really inspiring, is successful, has character.
If there is a book that the script came from you have to read it, you have to see what you can get out of it: mood, back story and things that may not even be in the film. They kick off your imagination and broaden the character, I think.
Every character brings new light to a different part of myself, which is something I love about every role I get to play.
Middle-class Pakistani cultural life is what I've seen, what I know - they're not all screaming faceless mullahs. It's disturbing that in American films, the character on the other side is not even named.
With Vietnam, the Iraq War, so many American films about war are almost always from the American point of view. You almost never have a Middle Eastern character by name with a story.
You've got to understand that in Bollywood, every actor is an instrument, and yet a human being. They come to the set with a set agenda, believing, 'This is who I am, this is what I want, and no, I am not going to become that character you want me to.'
As far as movies, I love 'The Notebook.' I always say that I wish I could play Rachel McAdams' character. She's amazing. That's the movie every girl wants to be in.
I had these kind of unrealistic expectations that were fueled by romantic comedies, and it has both helped me and hurt me in many ways. It helped me because, in general, they've made me hopeful. I just figure things will eventually work out for me. But nobody is like any Tom Hanks character. Nobody is Hugh Grant. No one is Meg Ryan!
I think on 'ER,' my other long-running show, I had some ideas about what's going on. 'Stargate Universe,' they were kind of secretive too a little bit about what they wanted to do, but I kind of liked working this way. I like the surprises, and I like knowing just enough to work on the character.
I was hesitant to do 'Mulan II.' For me, I felt like the story that needed to be told, this legendary character of Mulan, was already encompassed in the first movie, and I was worried they would try to create this crazy cartoon character out of this legendary character of China.
That's what was so amazing about 'Mulan.' Here is this story with all Chinese characters, and yet so many people related to her character and loved the story. So I really think as long as you have a good story that relates to a lot of people, it doesn't matter what ethnicity it is.
The worst evil is - and that's the product of censorship - is the self-censorship, because that twists spines, that destroys my character because I have to think something else and say something else, I have to always control myself.
It is almost impossible to imagine that any one could be so insensible to the high morality of Mr. Mill's character as to suggest to him any course of conduct that was not entirely upright and consistent.
I think I've always been regarded as a mentally strong person and a tough character, but it took me a while to reach a point where I realised that internalising your emotions wasn't doing me any good.
A lot of horror movies just look at how they can scare people, and no matter which character dies, you don't ever really feel enough to actually care.
It would upset me if someone watching a show was thinking about me, Milo, as an individual at the supermarket or at a concert, wherever, and they're not thinking about what the character is experiencing.
You want to be honest with a character and play it truthfully, and you want to be genuine with your character.
What I find frustrating about scripted television is that it's rare that you are surprised by how you feel about the character, or how you feel about the show.
I listen to them freely and with all the respect merited by their intelligence, their character, their knowledge, reserving always my incontestable right of criticism and censure.
There's no doubt West Point impacted who I am... It has an enormous emphasis, not only on military aspects, but character development. Whether it's the honor code, or the interactions you have, both with the cadet leadership and the academy leadership, every place you are is a character test.
You have to master the ball, play with confidence and play with character and courage.
Audiences have grown to equate being startled with being scared, and will complain that a movie 'isn't scary enough' if it doesn't have enough jump scares... so that means that a lot of studios will insist on shoving jump scares into a movie, regardless of character or story structure, thinking it 'makes it scarier.'
The growing tide of anti-Semitism shocks the conscious of everyone who values freedom, and the ugly, hateful acts particularly stain the character of democracies where liberty and religious freedom are supposed to be respected.
Books are a little better movies than just screenplays because there's more fat on the bone. There's more character development. There's more stuff to pick from.
I'm always game for creating a new character, and I liked the idea of putting something new into the 'Halo' universe.
The Miguel Syjuco character is not me. I wanted him to represent my own fears and frustrations and guilt, my own worst tendencies and my optimistic expectations. He's a cautionary tale for me. But he's also an examination of the darkest things that haunt me as a person.
I loved playing Jackie on 'Happy Endings.' It was really exciting to be in the pilot and then be able to come back. Her character was so much fun!
The most difficult character in comedy is that of the fool, and he must be no simpleton that plays that part.
I'm not one of those people who writes a biography or tries to figure out what kind of ice cream the character liked when he was 10.
If I had been born with an aggressive character, then maybe my palmares would have been longer.
Apart from differentiating our spaces with design, we also look for buildings that have distinctive character. We make sure every seat is a good one.
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