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Shaheed Diwas 2026
I've watched my mom take a plain piece of paper and create something beautiful out of it, and I think that kind of manifested for me in taking a character from the page and bringing that to life.
Character is the result of two things: mental attitude and the way we spend our time.
If you meet someone on the street that likes something that you did or likes the way you brought this character to life, that's really rewarding. That's really cool.
One of the things I really like about Victorian novels is the close anatomisation of character. People's gestures and mannerisms and the quality of their thought is very closely identified and analysed.
When you talk about a daily soap, it means one would be seen 28 days a month, which requires 30 days of shooting. So an actor being seen on a show airing four days a week and being telecast thrice a day comes along with a baggage of the character.
It's always scary when you're doing a sequel to a film, because you don't want to just repeat the first film in a different location like most sequels. You want to do something totally different, and something that actually expands the world of the main character.
On the whole, the psychological work of the last quarter of the nineteenth century emphasized the study of consciousness to the neglect of the total life of intellect and character.
The restriction of studies of human intellect and character to studies of conscious states was not without influence on a scientific studies of animal psychology.
By action and reaction do we become strong or weak, according to the character of our thoughts and mental states. Fear is the deadly nightshade of the mind.
I think that I am interested in the resonance between character drama and high stakes, either situational or political or social or other kind of elevated drama, and I tend to find that those things combust.
I'm always interested in the ways in which a character can inhabit either a theme or a premise personally, so that those scenes that are about his character or his relationship with other characters feel in context and don't seem to be apart from or oddly vestigial to the actual drama.
The Bible nowhere enters into an argument to prove the person and being of God. It assumes His being and reveals His person and character.
Every little thing that people know about you as a person impedes your ability to achieve that kind of terrific suspension of disbelief that happens when an audience goes with an actor and character he's playing.
I like it when the deeper you go with the character, the more you see the layers start to peel away.
There's a lot of romanticisation of the intuitive actor and method acting and all kinds of notions about getting inside a character and coming out from there.
I tend to relate to a character in terms of the arc: what's interesting is where he starts versus where he ends up.
French and German illustrate the misleading character of apparent grammatical simplicity just as well.
How many times can you play an action character, or a quirky romantic? Every actor has to find his own way to make each character unique.
I'm an actor. I'll take a lead if it's offered. The really good actors can fill a character, no matter what the role is. A good leading man is a character actor; a good character actor can be a leading man.
After all, we are not French and never can be, and any attempt to be so is to deny our inheritance and to try to impose upon ourselves a character that can be nothing but a veneer upon the surface.
In general it can be said that a nation's art is greatest when it most reflects the character of its people.
Basically, I think that there are some characters that you can just allow the truth of your character as a human being in your real life to come through.
No author ever drew a character consistent to human nature, but he was forced to ascribe to it many inconsistencies.
Your source material is the people you know, not those you don't know, but every character is an extension of the author's own personality.
The more you play against teams and defenders, the more you get to know them. You know if they are more nervous; you know, on the pitch, people are different. I try to adapt to their character.
I felt audiences are happier to take comedy people who play darker people because there's a link between the psychosis of comedy and the psychosis of being a twisted character.
I have friends who are leading men, and they're only ever allowed to play leading men of a certain type. But as a character actor, there's a wider variety of projects available. On the big Hollywood films, all they care about is having their lead in place, so it's actually easier for someone like me to slip in. And I'm happy to do so.
The trick to acting is not to show off, it's to think the thoughts of the character.
The trick to acting is not to show off; it's to think the thoughts of the character. I was lucky because when I started acting, it was doing jobs above pubs. I learned to act in anonymity, so by the time people saw me, I knew what I was doing. I was crap for years, but no one saw me being crap. It's a trade you learn.
When I think of character actors, I think of Spencer Tracy; I think of Gene Hackman, Robert Duvall. When I was a young lad watching films, my eyes were on them - watching 'On the Waterfront,' my eyes are on Rod Steiger and Karl Malden, not on Brando.
I've never played a gay character on screen, so that would be interesting. I've never played a gay character, and that would fascinate me because I'm not gay, so that would interest me.
With a face like mine, I'm never going to play a character who conquers the universe, I'm going to play characters who are subject to forces bearing down on them. My career's based on how we are rather than how we wish we were - they get the good-looking boys in for that kind of role.
In the original script, my character was a basketball player rather than a boxer. I didn't think I could pull that off. I'm a little short to be a basketball player!
Making 'Birdsong,' on the one hand you have how prestigious it is and the reputation of the book, which is something that's an extraordinary piece of work. Sebastian Faulkes is a genius. So you feel that responsibility when you're portraying that character that he's imagined and millions of readers have pictured.
The four cornerstones of character on which the structure of this nation was built are: Initiative, Imagination, Individuality and Independence.
Money is not a measure of a man's character or success in the arena of public service.
I tend to gravitate toward conflicted characters, and a character who is exploring chaos theory and population control and the difficulties of love and family is pretty rich.
I bought the rights to this book, 'The Ploughmen,' by a Montana writer named Kim Zupan, and I've written the screenplay, and I really feel pretty strong about it. It's really hauntingly beautiful. It's got some suspense and great drama, but it's a real character thing.
When you're playing a fictional character reacting to the real world, it's incredibly difficult and confusing and kind of messes with your values a bit.
I try to explain to people that you get the roles that are right when they're right. If you have a nerd character but you're kind of a cool guy, you're probably not going to get the nerd part. The nerd is going to get the nerd part. You know, someone like me.
The older I've gotten, the more the need to exert comedy no matter how tragic a character I may be portraying because they are essentials for presenting truth.
I've found that good dialogue tells you not only what people are saying or how they're communicating but it tells you a great deal - by dialect and tone, content and circumstance - about the quality of the character.
Character is supreme in life, hence Jesus stood supreme in the supreme thing - so supreme that, when we think of the ideal, we do not add virtue to virtue, but think of Jesus Christ, so that the standard of human life is no longer a code but a character.
The characters can't be wittier than people are in real life. They have to be character witty.
It probably says something really clinically terrible about my character that I need to get up on a stage and go 'Ra ra ra' in front of people.
Queen Victoria did not regard art, letters, or music as in any way springing from national character: they were something quite apart, elegant decorations resembling a scarf or a bracelet, and in no way expressive of the soul of the country.
I try to think what the character is thinking. Then, hopefully, I begin to feel it. I act and react not because I'm recalling a dog killed by a fire engine, but because I'm concentrating on what the character is going through.
'm really proud of it. To me, it's a movie about character behavior and the pecking order of the pack, as well as the central character's massive survival guilt.
With the rise of cable, network is clearly floundering because the characters on cable are far more fascinating than they are on network. Network television is trying to figure it out. Network television really relies on story rather than character, and cable relies on character.
I think there's always pieces of yourself that bleed into your character. That's inevitable.
Well first of all, it's hard to shoot a movie and break for a long time and then come back and do, in a sense, one of the biggest scenes that each character had.
It is when I am convinced about my character that I can do justice to that role.
I think my sensibilities about storytelling and character just automatically come into play when I'm trying to work on any kind of narrative. For me, it doesn't really matter what the source of the narrative is. I will be looking for ways to make it into an intriguing story with empathetic characters.
I think the only reason I wanted to do modeling, really, was because I knew I wasn't ready to act; I knew I didn't have enough life experience, and I knew that doing photo shoots was a way of acting. Playing a character each shoot and being able to just emerge yourself in these awkward experiences - it was amazing.
The dream would be to work with my two favorite actors, Daniel Day Lewis and Cate Blanchett. Or playing Joaquin Phoenix's brother in a film. Basically anything where I get to act opposite actors like these; ones who bring a certain caliber to their work and literally morph into the character they are playing.
You can't just be the same character forever. You've got to add some layers, show some personality.
It's a character I've created. Actually, that's pretty much the opposite of me, off a farm in the Midwest.
In terms of jumping into a character's skin, I try to immerse myself in the role as much as possible to bring me closer to them. All I do is what's required to achieve what I want to achieve.
When I'm playing a character like Jonathan in Ripley's Game I want to be in the moment when he's feeling pain; this very ordinary person who finds himself in extraordinary circumstances.
Every single character I've ever played has a little bit of me in them just because every single human in the world has a little bit of everything in them.
But Germany will always suffer, I fear, from the intensely dramatic character of the crimes of the Third Reich.
I - and there are hundreds of thousands of Irishmen who felt on this subject as I do - have always liked my Celtic countrymen and disliked the English nation; it is a national trait of character, and I cannot help it.
What is character? It is that quality of man which is going to make a man, in an hour of strain, do the just and, if possible, the generous thing.
Character is that quality of mind which makes truth-telling instinctive rather than strange.
Character is the starting point from which we go on. When I say a man has character, I mean that when you go to that man and say, 'What are the facts in this case?' he will tell you the truth, justly, truly, and wisely as he knows, with the minimum of exhibitionism and the maximum of devotion to the common cause.
Character is the essence of all that a man has seen in life and regards as high and exalted. Character is like truth: the substance of the things that a man has forgotten but the substance of the things that are worth remembering in life.
But as far as the concept of HAL, who HAL was, his character - I had no role in creating him.
We all have ambitions, but only the few achieve. A man thinks of a good thing and says: 'Now if I only had the money I'd put that through.' The word 'if' was a dent in his courage. With character fully established, his plan well thought out, he had only to go to those in command of capital and it would have been forthcoming.
I'm a very happy-go-lucky lover of all mankind as a person in real life. So when I play a darker character, I have to tap into something that isn't my natural way, and what I found was that I think human beings have the potential for all of these emotions.
I really connect with every character that I've played, just because I kinda have to; as an actor, you want to take them in and get to know them and like them; because they're evil, you kinda have to like them so that you can understand them and play them and play them with some kind of empathy.
My very favorite costumed character I've played would be Abe Sapien from the 'Hell Boy' movies. I love this guy.
When you're on camera, even though you try to lose yourself in the character, you are aware that there is a camera there capturing every moment of it visually. With doing a voiceover job, you are worried about the sound of it, and you have to make all those visual colors come out with your sound.
To me I don't deal with stress well at all, and it is stressful enough for me to deal with my own one character. So if I had to deal with all the characters and the special effects, and the editing and make the writing tweaks and do everything the director does, that would drive me to an early grave, and I just can't do it.
I'm not the most famous guy in the world; my work is spread out across different mediums, and I never write the same kind of story and rarely even do the same character from one year to the next.
I think if you work as an actress and are supposed as a character to be in love with some actor, then to some extent you do have to be in love with him.
I'll tell you the secret. When you begin with a character, you want to begin by creating a villain.
The duties of a teacher are neither few nor small, but they elevate the mind and give energy to the character.
Man is not made better by being degraded; he is seldom restrained from crime by harsh measures, except the principle of fear predominates in his character, and then he is never made radically better for its influence.
A virtuous character is likened to an unblemished flower. Piety is a fadeless bud that half opens on earth and expands through eternity. Sweetness of temper is the odor of fresh blooms, and the amaranth flowers of pure affection open but to bloom forever.
I gained a lot of confidence after 'IP Man' as being a true actor. I went on to tackle what it is an actor is supposed to do before a film. Do a lot of research, get into the character. That's what I did with 'Dragon.'
For me, the challenge of a period film is that, unlike a contemporary film where the character can be very free-form when it comes to the acting, there's a burden to acting in a period film because you have to stay within the character's historical background and the gestures of certain periods.
My action follows my characters. If a character is a cop, you cannot be posing all the time, you cannot fly off the roof because it doesn't make any sense - it's not practical.
I like to stay within the context of the character's background. If he's a cop, I have to make sure the audience is convinced that this person, a cop, can do only so much without a gun.
Action choreographer is like talking. When you talk, you have a rhythm. When you act, you have a rhythm. When you're moving your body, you have a rhythm. So as an actor, as a choreographer, the objective is trying to blend everything in - into - ultimately back into that character.
I act according to the requirements of the character, and if I try to play the role, then I play it truthfully. In my daily life, I'm a laid-back, peaceful guy. I'm just doing my job to act.
The character I created, 'Commissario Brunetti,' who appears in all my books, shares similar reading, artistic and musical tastes with me. Subconsciously, I knew that if I was to spend however long it would take to write this book with him, this man would have to be someone I'd like to have dinner with.
There were episodes where I would wear seven or eight outfits. It took a lot of time to get those together. What the character wears is very essential to how I create the character.
I kept bugging them about making it more upscale, because I felt Abby, through her cleverness and business sense, was a character who would move up. And that's what she did.
I'm really not livable with when I'm rehearsing because I'm living the character.
The bedrock of 'Being Human' has to be characters. I would hope that even if suddenly we had a huge budget per episode, the foundation of the show, and the thing that actually makes it what it is, is character.
Once he became a series character, I made the conscious choice that he would never act like a series character, never wink at the reader, never pull his punches. Better for him, better for me.
Well, if you're writing a thriller, you have to have your character in mortal jeopardy on page 1 or it's not a thriller.
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