Character Quotes
Most Famous Character Quotes of All Time!
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An ignorant person with a bad character is like an unarmed robber, but a learned person with a blog is a robber fully armed.
To be a true star, you need to find that balance in between shining the light on the professional wrestling aspect, of being the absolute best in the ring, but also being the best character and finding that balance in between them.
What's always intriguing to me is transforming my subjects into a character from another era.
I have done many films across the globe and would love to be a part of Bollywood, but the script must have a strong character for me.
Being part of 'Game of Thrones,' you're always expecting your character to die. You're not mentally preparing yourself for a very long haul.
The sexy moments for me, I wasn't thinking of them as sexy. I was thinking of them as more specific to my character. So it was necessary for my character's development in the movie, so that's how I played it.
In 'Breaking Bad,' we have a lead character who definitely finds himself in a situation he would never have expected to find himself in normally.
Every character a writer creates has some of themselves in it somewhere.
Here is the operating motto of the Obama White House: 'So let it be written, so let it be done!' Like Yul Brynner's Pharaoh Ramses character in Cecil B. DeMille's 'The Ten Commandments,' the demander in chief stands with arms akimbo issuing daily edicts to his constitution-subverting minions.
You just have to kind of remember that it's just a character on TV. A lot of times people just forgot that and it's easy to do.
I think if you find that you're making a judgment on the character, than your audience will make a judgment on the character.
It's an interesting opportunity to do a long-form character and really have the time to find the nuance over an extended period of time. You can really dig deep.
The whole point of taking a job is that you connect with a character or with an issue.
I'd never really considered doing young-adult novels, but one of the things that a friend pointed out to me is that I've actually had a teenage character in almost every adult novel that I've written.
I tend to think that good and evil exist and that the quantity in each of us is unchangeable. The moral character of people is set, fixed until death.
My first word for the people of Brazil is the word 'confidence.' Confidence in the values that form the character of our people, the vitality of our democracy.
You have to be careful so you don't make your character dull and predictable. Sometimes you have to bend the script a little... The bad guys are mostly the same on the paper... A bad guy wouldn't think of himself as bad.
As the entertainment industry became more corporate and MBA-driven, Harvey Weinstein remained an unreconstructed specimen of the worst and most compelling character traits of a truer Hollywood. Harvey, and in a sense only Harvey, continued to embody the Hollywood self.
Here was a man with loads of talent, loads of ability, lots of love to give; but that had been stifled and aborted. I became very fond of that character.
I don't want to get pigeon-holed into a certain kind of character. I love action roles and the hero, but I want to keep trying something new.
I wish I were a character actor. Of course, if I played hockey without a mask, I could become one.
My father and mother are both very smart people and I always felt I was a little short of the mark. So I would compensate with a character like Logan Cale. He's wearing glasses, he's in a wheelchair, he's a computer genius. He's very far away from who I am, but I really wanted to play roles where I'd be taken seriously.
I guess because you study the character and you do all those things. But when it comes down to it, it's still my performance, it's still my interpretation. I'm not going to, you know, be a clone - well, I was a clone of Richard Dean Anderson!
Tarzan is such a great character in that he's very innocent and wide-eyed about the world, yet he's so powerful and capable. It's fun to play those qualities simultaneously in the same person.
Your character - you own it. That's something you have to grab hold of on 'This Is England'. Your character is your character.
You feel that your character is special. It's not your normal nine-to-five. You're not someone who goes home and lives a normal life.
It's absolutely true that it's almost impossible to play a character without having any affection for him.
It was nice, though, to have the long term benefit to be able to pare away those things and eventually make the character my own and put my own unique stamp.
I was doing Hamlet in the off-season, and I had a specific idea in my mind about what I wanted that character to look like, and because it's going to lead into the next year, I knew that it was going to have to be established somewhere in the show.
I'm a performer. I push the envelope, I work in a very uncontrolled manner onstage. I do a lot of free association, it's spontaneous, I go into character.
I'd had an early stint in acting school, and there was something satisfying about becoming a character, about being inside another mind that you had to create out of yourself. As I moved toward a life in writing, I found many of the things I'd learned in acting school still applied.
When you find you don't like a character, you just type four letters and he's dead.
The jokes I used to do on 'Sex and the City' were always comic character things, and they were rarely hard jokes. As soon as you go up in front of people, it demands laughter.
These fallen heroes represent the character of a nation who has a long history of patriotism and honor - and a nation who has fought many battles to keep our country free from threats of terror.
Practically every movie that shows the pope or even a bishop as a character, and in much of western literature of the last 300 or 400 years, these are portrayed as awful figures.
When you play a character that's someone real, when you're playing a true story, it's really great 'cause you're not pretending to make up some silly thing.
I think as an actor... I don't like to compare a character to anybody else, just because I respect other people's work, and I want that character to have his own identity.
It's nice to take the gloves off, to really examine your character's desires and goals.
A character has to believe in himself, so I have to find a way to believe in them. Or at least sympathize to a degree.
There are times when I consciously give the character something physical - a walk, the way he sits, how he talks, or his lack of physicality, which is like a physicality.
In terms of characters I wish I had created - just because I haven't dealt with anything like them - I'm really impressed by characters who can endure over time, whether that be a long series run like a Harry Bosch, or a character who endures over generations and continues to please readers: Sherlock Holmes.
Since I do seven different styles of martial arts, I don't foresee myself fighting the same in any two movies. I think every fighting style should fit the character that's doing the fighting.
It works better if your lead character is complex and interesting and not perfect.
My instinct is to absolutely recoil when talking about writing in a mechanistic way. Nothing could be dumber than writing a film or TV script based on prescriptions, on other peoples' ideas of what character should be.
No one has to be taught to trust in themselves. No one has to be taught that what you experience inside yourself is more authoritative than what comes to you externally, even if it comes from God. Since the Fall, it has been part of our character to look within ourselves.
Lordy, lordy, lordy do I love money. It is a character flaw, no doubt, one that springs from a panicked childhood in which I always felt as if our family was only a couple missed child support payments from being tossed onto the pitiless streets of our suburban New Jersey town.
But there's the paradox of fiction - why do you cry when a fake character dies? It's the basis of art. You engage with people who don't exist and care about them as you would your friends and relatives.
Every part I play is just a variant of my own personality. No real character actor, of course, just me.
People buy a game because they like the game and they want to play the game. And there are certain characters in games that people like, obviously. I don't know if a certain character's voice or lack of a certain character's voice can cause somebody to buy or not buy a game.
The rehearsal process is the biggest gift you can give to the director and to yourself as an actor because it allows you to shape the character and the scenes.
A long time ago, I learned not to go up to the boss and ask what's happening to my character. I haven't done that for 20 years, since I was on 'Days of Our Lives.'
I've had a couple of people come up to me after screenings and say they kind of sympathized with the character. I always get a kick out of it when people say that. It means I did something maybe a little bit to the credit of the character.
When I'm playing any of my characters, I totally go into the realm of the character. That's when I'm able to come up with the most creative stuff, and I believe that's what connects with the audience.
I'd love to star in a television series of my own. I love the idea of living with a character for a number of years, watching him grow.
What is overriding that and most important is that readers generally are interested in a good character. They might be more comfortable with Harry because they think they know him, but they always seem willing to give somebody new a chance.
I think books with weak or translucent plots can survive if the character being drawn along the path is rich, interesting and multi-faceted. The opposite is not true.
As a former reporter, I wrote 'The Scarecrow' quickly - I didn't have to think about what the character would do the way I do with Harry Bosch.
When my main character in 'Heat' climbs the tower, the highest diving platform, hoping to resume competitive diving after an injury, I am there with her, sensing the cold grit under her instep. The details are what matter - they are the experience.
To disappear your complete self into a character is quite difficult. I've tried it 85 times, and I've succeeded two or three times.
I'm not really one who goes telling people things. I'm quite a reserved character and I keep a lot of things to myself. That's my home life as well. I just try to deal with things and, rightly or wrongly, get on with it.
The great advantage of having a bear as a central character is that he can combine the innocence of a child with the sophistication of an adult.
Our Nation is in great need of young men and women of character to lead in every arena of our society.
The 'Doom' thing is to be able to come at things with a different point of view. I decided the mask would just add to the mystique of the character as well as make Doom stand out. I though it'd be an easy way for people to see and differentiate between characters, sorta like when an actor gains weight for a role.
I make hip-hop, but use Doom as a character to convey stories that a normal dude can't. You have writers that write about crazy characters, but that doesn't mean the writer himself is crazy.
The idea of having different characters is really just to get the storyline across, you know? Coming from one particular character makes, to me, the story boring. I get that mainly from novels and that style of writing or movies where there's multiple characters who carry the storyline.
When I finish a film, I want to feel drained. I want to feel like I couldn't have possibly done any more to service a character and a story.
The way I approach the character isn't about being gay or straight. It's just about who you love. Gender has very little to do with it.
Being a new character is like going to a new school. You have to try to maintain your own autonomy and your own personality.
You have an awareness of your body and how to use it and I think that if you can embody a character physically it's another really useful tool.
I've been in leadership roles on Broadway, and it's one thing to lead a Broadway company - you're with those people for a year straight, and you're doing that same show, eight shows a week. It's quite another when you carry on the story... You go beyond that, and you ride the wave of a character.
I try to use all of my senses when describing a setting, and try to think of everything that would impact a character in any given scene.
Even setting aside her checkered record in the Senate and the State Department, it is Mrs. Clinton's flagrant contradictions on women's issues that expose her true character.
The study of the human character opens at once a beautiful and a deformed picture of the soul.
When I'm trying to find my way into a character, the voice and physicality are the first two things I do.
Voices have always been my way into a character. I usually approach the voice first.
I love Charlie, Billy Burke's character. Writing for him is so spectacular, he's so funny and wry and every scene he's in he just takes. There's a scene in 'Eclipse' where Bella tells him she's a virgin, and it's the funniest, most awkward scene I've ever seen on film.
I find Jessica Jones a much more interesting character to write for than Wonder Woman. Wonder Woman is so noble and heroic, and I don't find that as interesting as one who's really damaged and flawed and has post-traumatic stress disorder.
No matter what the character is, I just say to myself 'If I, Melissa George, was in that situation, how would I react?' and once you do that you can just go for it, and hopefully the performance comes through.
In the Emperor's New Clothes, they got a different celebrity to do each voice. They drew up a picture of each character and then each actor wrote their own part.
To play someone when the character masks their own emotions, doesn't understand their own emotions, has no release for their own emotions, and yet is full of emotion - that is a much harder character to play than someone who has somewhere to put it.
If children are given some real content, they can feel powerful with their own understanding of it. I think a movie like 'Indian in the Cupboard' will instruct them how to proceed as people. They can think about whether they would have done something the way a character did, how they would have felt about an event in the story.
When you're acting in a scene, you're focused on doing the scene. You can't break character and go, 'Oh my God, I love what you're doing!'
Whenever people say they didn't like the main character of a book, they mean they didn't like the book. The main character has to be a friend? I don't get that.
A part of my job, when I'm playing a character and approaching a role, is to rationalize and to not judge whatsoever.
People are not used to seeing an older woman on screen, unless she's playing a character role. Why can't they make a movie about a woman who's forty-five who's falling in love or getting divorced? Why does the leading role always have to be a woman who's twenty-three or twenty-eight?
I always choose my movie because of a director and a story and a, a character.
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