Character Quotes
Most Famous Character Quotes of All Time!
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Shaheed Diwas 2026
Honestly, at one time I though Babe Ruth was a cartoon character. I really did, I mean I wasn't born until 1961 and I grew up in Indiana.
Not that I'm in the stage of my career where they're offering me parts in 'The Revenant,' but I try very hard to go through the audition process because I feel like I learn quite a lot about the character and the people I'm going to work with.
As a media member, my goal is to inform the American fans of persons of character. It's a joy for me, either writing a good story or telling a story on video.
The most fun part for an actor is the writing and the story and the character. That's very fulfilling.
Growing up, I feel like my character was so much about being a problem-solver and a truth-seeker and always needing to get to the bottom of everything.
You have to do something different, or you are just the guy who goes out there and has a great match, but nobody cares. You have to have different layers to your character.
There is something wonderful about turning up every day and knowing that not just the character but the whole movie kind of rests on your shoulders. And there's great satisfaction when you think it's going well and then real terror when you think it's not.
Two things are always happening in acting. On the one hand, it's a team sport. We're all pulling together. But on the other, you have to look after your own character. Guard their interests.
For TV I don't think I could have gotten a better part than Uncle Junior because of the intimacy of the character based on David Chase's brilliant writing.
I had to audition for the part of Jnior, and I wanted the role terribly because I knew it was a great character. This guy is a wonderful, funny, mean old guy.
There are probably only a certain number of people who can understand or tolerate how long a job will take and what demands it puts on you. And why should they? It breeds a strange kind of selfishness immersing yourself in a character for so long.
Of course you can find something exciting and dynamic in any character you want to portray.
I'd love to play a gangster but I think people might say I looked a bit too young and cheeky to play a character who'd just blown someones head off!
I think if you've held onto a character for several years and then you're getting rid of that character, it's going to be traumatic.
Rehearsals are set up so that you find out all the nuances about your character. You never want to beat yourself up. It's about finding the right direction, and most of the time, the right direction is not what you think is the right direction. That's why the director's there: to guide you there.
The magnitude of the atomic weight determines the character of the element, just as the magnitude of the molecule determines the character of a compound body.
Whether I'm writing the script, or someone else writes the initial draft, I'm always an actor's director first. I always try to listen to them a lot and try to put their voices into their character.
Being a TV actor is quite different from being a movie star, and I always try and highlight my character. It is the reason why I am more inclined to taking frequent sabbaticals: so that when I return, people can identify with the character I play.
There are groups of haters who always try to malign my image. They question my character and make all kinds of false announcements. It hurts because they assume things and without any proof in hand.
Irrespective of my looks and age, they'll like me if I portray my character well.
As a writer, it's a great narrative tool to have that character who is slightly detached but at the same time observant of his reality, because I think that's pretty much what being a writer is - being there, watching and internalizing.
I haven't done great things for Spain - I can't lie - but when I play well, they should say so. They criticise me for my character, but I also have quality.
In theater, you are there, you have a character, you have a play, you have a light, you have a set, you have an audience, and you're in control, and every night is different depending on you and the relationship with the other actors. It's as simple as that.
To follow Christ is to become more like Him. It is to learn from His character.
The story drove the book. That had a very seminal effect on the way I saw writing and storytelling. If you can set a character in a story that is compelling and has a backbone, you draw people in.
Doing animation is closer to pretending than anything else you get to do. It's much more like when you're a kid putting on a character.
I'd rather be a Jack-of-all-trades than master of one. If I became an icon, where my whole life was music, I would probably have become a vegetable. I wouldn't be able to have all these talents I have today and be an interesting 'character.'
The Olympics were produced absolutely the same way from 1960 through 1988. It was always the Western World against the Eastern Bloc. You didn't even have to spend one second developing the character of any of the Eastern Bloc athletes. It was just good guys and bad guys.
I think it's important to keep your personal life to yourself as much as you can. It protects your sanity and you need to have boundaries. And it helps that enchantment of watching an actor. If you know someone's favourite colour or what they like to do on a Sunday, you won't fall for the character as much.
Your voice is not your instrument. Your voice is the character that you build, your innermost feelings, the things that you want to say, and your instrument is the vehicle that you use to carry the message.
I used to watch dailies and felt I had to keep on top of the character, but I don't feel that any more.
It's fun being one of the boys. It's fun to have a character that's rough and gets down and dirty and not to be this precious girl who just sits in the corner and just sort of stands by the action.
I'm sorry, but to ask an audience these days to invest three hours in a show requires your heroine be an understandable and fully rounded character.
Conflict and character are the heart of good fiction, and good mystery has both of those in spades.
There were some things that I found I really enjoyed singing about; like, on the title track, there's this film-noir character of a woman who's sort of losing it in a room.
That was the fun of acting, being a blank canvas you could transform into the character - Indian princess, 20s vamp, Mother Courage, Oxford don, 94-year-old wife.
I step into a character in my public life. People who don't make that distinction are dooooomed.
I got to work with Juliette Lewis in my fourth real movie, which was such a cool full-circle moment. Her character in 'Gilbert Grape' is why I wanted to become an actress.
I always devise a background so that it makes what your character goes through logical and keeps up the continuity.
The screenplay has to be gripping. That's when the film will work. Then, I see how much I can relate to the character I'm playing.
I haven't experienced college life. It's the phase that my character in 'Raanjhana' is set in. But it isn't that bad, either. I have nearly 30 films behind me and a National Award to boot.
You can have a great character in a really bad script, and the film will never be seen. It's just too much work to commit to a film and not have it released.
I love the simplicity of Kevin Spacey's work. He really does a subtle interpretation of every character, and that's kind of my style of acting when it comes to dramatic roles.
I am used to doing dramatic work, but its fun to grab a gun, and go running around, getting beat-up. Its fun to do the action stuff, because it is really physical. There is nothing like getting into a character by getting beaten up physically.
I try to act as a man of character if no one is watching or if the world is watching.
I have only a couple of Super 6s now, but I do have quite a few black-face Fenders around the studio. They all have slightly different character and tone, so I keep collecting them.
You would get some fantastic syntactical phenomena. You would hear people talking in Barbados in the exact melody as a minor character in Shakespeare. Because here you have a thing that was not immured and preserved and mummified, but a voluble language, very active, very swift, very sharp.
It's a controlling thing on stage - you're directing the action, getting people to play their role. In real life, I take being kind and nice seriously, so the last thing I'd ever want to be is that weird, controlling, manipulative character.
There's this thing in Hollywood about the sympathetic character and likability. I've never understood that because the people I love most in my life are not likable all the time. My wife is not always likable. I'm certainly not always likable. My dad is not always likable. We're human beings.
My character has always been important to me. That was the one thing that I knew, no matter what, I had to hold that strong.
I shall miss all the people in it and the great fun we had doing it. I enjoyed playing the character very much. It was a very, very special character and a very special series. And the camaraderie of it all. I loved it.
There's never been any game plan or thread through my career. It's just happened that I've ricocheted from one interesting character to another.
I think that each character has fascinated and interested me enough to want to play him.
You're a person a lot longer before and after you're a professional athlete. People always say to me, 'Your image is this, your image is that.' Your image isn't your character. Character is what you are as a person. That's what I worry about.
I tried to copy some of his mannerisms at first but it didn't work. And then I just let the spirit of the character grow in me and it just took its rightful place. I started to speak the lines and it felt right.
So much of it is the design of the shot or the motion of the character; it's the work you do so that it has the same things that are in the movie. In just a few frames it's got to communicate something clearly and dramatically.
You know a lot of what worked on this was taken from Harry Potter 2, the little Doby character, we had a lot of our skin stuff worked out and that helped a lot. We have a lot of exchange happening.
Goodness is about character - integrity, honesty, kindness, generosity, moral courage, and the like. More than anything else, it is about how we treat other people.
I've always considered myself a character actor. That's the way I was trained, really.
One of my earliest inspirations was the 'Allan-a-Dale' character played by Elton Hayes in the 1954 movie 'The Story Of Robin Hood And His Merrie Men.' He was a wandering minstrel with his guitar.
I read the script and try not to bring anything personal into it. I make notes, talk to the director and we decide what kinds of shades should be in the character.
If I'm characterized as a character actor, that's fine with me. Whatever they want to call me is fine.
I consider myself fortunate that I've been able to find a character that people have responded to.
I'd like to get into the superhero genre. I'd love to do either a DC or a Marvel character.
When you're playing a good character, you have an idea that you're playing the hero and the good guy. Actually, I think you're more stymied playing the good guy than you are the bad guy. As the bad guy, you have no inhibitions. Nothing stops you from doing what it is you feel you have to do. You do it because it's what's required.
I don't think it should matter to the American people what color skin is on their president. What should matter is the content of their character.
Usually when I'm trying to establish character, I try and find out where they live.
I don't know what the big issue is about a kiss with Neve Campbell in Wild Things. It's a role, and I think a bigger issue is made out of it. It was a part I took and it's what the character did, so I did it.
With any actor, if you know your character well enough, you'll know pretty much what he would say under any circumstance, or whatever situation might rear its head.
The thing with movies is, because you have so little time, I always feel like there are more things we could've done with the character. If we'd done a sequel to 'The Thomas Crown Affair,' what would that have been like? But for the most part, you try not to think of that, because it's just going to break your heart.
When you shoot a film, you have very little time to waste, and I try to go into the character as soon as possible and stay there as much as I can.
When I don't know what to do with a character, that's when I say yes to it. When it's far away from the way I am, the way I feel or the way I think, that's when it's more attractive.
There was always comical aspects of everything I've done, 'Playing The Field' again, I played a comical character even though it was a drama - I like the light and shade.
If you look to lead, invest at least 40% of your time managing yourself - your ethics, character, principles, purpose, motivation, and conduct. Invest at least 30% managing those with authority over you, and 15% managing your peers.
I'm always excited about stories that allow me to explore a character and create interesting stories and worlds that we haven't seen before.
My character in 'Cocktail' was different from my personality. Homi Adajania took me to London, showed me how girls dress and behave there. I had not seen that kind of lifestyle before.
Preparation is definitely important, but it depends on the kinds of roles I do. Like, I completely identify with my character in 'Yeh Jawaani Hai Deewani.' I had to be myself and I didn't have to actually prepare for it.
The best feeling is when you are remembered for the character you play on the screen and people associate you with that character. There is no better feeling than that feeling.
A script narration is like watching a film, and I react to it like an audience with my own instinct. After that, I look for what is my character, what will I bring to the table in that role, how challenging will it be.
When you work on a film, it's important to feel that you are starting afresh and doing it for the first time. Also, it's important to have those butterflies in your stomach; you need to wonder how you are going to approach the character and whether you will be able to do justice to the part.
I think one thing that's always a concern to me is you see a role, and you're not seeing the character; you're seeing so-and-so do it. Then I'm taken out of the story considerably, personally.
I used to live above Manganaro's, when old Times Square was still peaking, and it still had a lot of diners and theaters on the forty deuce, as they used to call it. It was full of character. And it wasn't Disneyland. Now it's so touristy and full of bright lights, I can't stand it. It's like going to a big mall.
I haven't always had the money rolling in. I'm a character actor; it's not like I'm Gwyneth Paltrow - so I do have hard times still in my life. And that's even more why it's like you know what, I'm not that different from people going through it. I struggle; I look for a better deal at the grocery store.
In creating a new character, it's sometimes difficult to find a touchstone, a North Star that will always point you in the direction that character will travel.
To know how a character will behave in any given situation is a necessity and a gift.
I think a setting is hugely important. I look at setting as a character with its own look, sound, history, quirks, goofy temperaments and moods.
I had the sets that meant so much to this character built - right in my home, especially the kitchen, which was important both for her character and for your introduction to her when Albert comes to visit.
I wanted to be as comfortable in that environment as she was. I moved around those areas in character.
Readers will stay with an author, no matter what the variations in style and genre, as long as they get that sense of story, of character, of empathetic involvement.
For an actor, playing one character and transitioning to a completely different one is a dream come true.
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