Character Quotes
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Shaheed Diwas 2026
We all wake up in the morning wanting to live our lives the way we know we should. But we usually don't, in small ways. That's what makes a character like Batman so fascinating. He plays out our conflicts on a much larger scale.
I love trying to give some flesh to rather naked bones sometimes. I've always felt it my duty and to try and bring on the character's off-stage life, what happened that is not revealed.
If I could make Panther tough, mysterious, wily, and often at odds with his 'Avengers' comrades, that was a character I'd find interesting.
Some people might shy away from a character like Deathstroke because, you know, all of the blood-letting and the swordplay and violence and all that other stuff.
You don't want to have a character say what's bothering him; you want to define characters by action.
What makes a good villain is someone who doesn't just challenge the hero but comes organically out of that character's history and circumstances.
I'd love to do a character with a wife, a nice little house, a couple of kids, a dog, maybe a bit of singing, and no guns and no killing, but nobody offers me those kind of parts.
I was always trying, even in pure action movies, to find what was sensitive about the character more than the pure action.
Every age develops its own peculiar forms of pathology, which express in exaggerated form its underlying character structure.
As far as I am concerned, Don Quixote is the most metal fictional character that I know. Single handed, he is trying to change the world, regardless of any personal consequences.
I don't play long parts. They must be short parts, but they've got to be parts that mean something, that matter, where people will notice when I'm on the screen, and people will remember the character after they've seen the film.
Whether it's a very dramatic part or a comical role, I feel I need to create the same thing: a full-fledged, three-dimensional character that the audience can identify with.
If you have a character named Captain America, he is, by default, a political character.
One of our jobs as screenwriters is to never lose sight of the character.
I hate hearing me talk when I'm not in character, and I can barely deal with hearing me as a character.
'The Green Lantern' seems a little calculated to me. It's like, 'We've got to get on this gay bandwagon and make this character gay.' Like anything else, there's earnest expressions in the culture and then there's kind of bandwagoning.
I believe that as a writer and a director, you're only providing the skeleton of a character, and you're hiring actors to fill it out.
Crime is one of the leads of the show. If there's ever anything that deals with a character's personal life, you don't have to worry about it getting too crazy. People don't have to worry about character arcs. Each episode is a self-contained unit.
In animation, no one gets to see your face, so you can really mess up with your voice like I did 'ParaNorman;' I was a bully in that, which was so much fun to do. In 'How to Train Your Dragon,' I'm a little Viking character. So, it's kind of exciting to play these roles that you normally wouldn't get to play in a live-action movie.
I was Aladdin, and then I was Captain Von Trapp from 'Sound Of Music' when I was 7 or 8, and then King Arthur. I was always the lead. I've always enjoyed being onstage, acting obnoxious, being someone that wasn't me, hiding behind a character.
I think theatre is by far the most rewarding experience for an actor. You get 4 weeks to rehearse your character and then at 7:30 pm you start acting and nobody stops you, acting with your entire soul.
High moral character is not a precondition for great moral accomplishments.
You know, I don't talk about the characters that I play. Years ago, I was a little timid about it and I kind of squirmed when I was asked, 'Could you tell us something about your character.' Now with a little self-confidence that comes with the grey beard, I just flatly refuse.
The actor is there to translate what's on the page onto the stage or the screen. So I find it important that an actor manages to actually get out of the way, vanish as a person behind the character, never to be seen or talked about again. That's my philosophy.
From a sequence of these individual patterns, whole buildings with the character of nature will form themselves within your thoughts, as easily as sentences.
Carol Burnett probably had the biggest influence on me as kid. Although I was very young and watched her a lot in reruns, I was mesmerized by the way she transformed, by her physical comedy and the rolling laughter from the live studio audience. I loved her most as Scarlett O'Hara and her well known Cleaning Lady character.
Sitting at a candidate rally is similar to sitting in a ballyard. Both give you the opportunity to assess the technical metrics and reflect on the intangibles - what baseball calls 'make up' and politics calls 'character' - the leadership, talent and maturity to add value to a venture.
Well, it's difficult to fall in love with a character when you just read the pilot. You don't really know who the character is.
I think it's really great to be able to stick with a character for a long period of time. It's not like you have one shot, and that's it.
I think I used Christine, who is my stage character, as an excuse to finally be myself, as if I needed to say, 'Oh this character is going to be the woman I wanted to be.'
There are lots of ways to be a feminist. Beyonce, for example, is a beautiful example of feminine sensuality and is still really powerful. My character and my inner essence is more like an awkward 15-year-old boy, like a teenager backstage, like, 'Yeah, what's up?' That's what I'm trying to channel.
Christine was me wanting to break free. I was tired of being prissy and shrinking and apologising all of the time, so I created a character that could be daring for me.
The character I've created, Christine, is mainly the first attempt for me to escape all the secret injunctions we have as girls all the time. Like, be pretty but be polite. Don't take too much space. All those things that didn't mean anything to me. I just decided to turn them around with my character.
Christine, as a stage character, is just a way for me to be more daring, to be more out of the box, to be stronger and to use everything that could weigh me down like a fuel, like an energy.
Usually, it gets worse and worse as they downsize your character; mine just kept getting better.
Internationalism on the other hand admits that spiritual achievements have their roots deep in national life; from this national consciousness art and literature derive their character and strength and on it even many of the humanistic sciences are firmly based.
It's more difficult playing a real-life person than a fictional character - you can go easy on yourself with a fictional character.
When it comes to films, people often don't differentiate between the message of a bad central character and the message of the film itself. They are two separate things.
My hope is that people will be repulsed by the character's complete lack of ethics and obsession with consumerism - that's what I was saying about the difference between the character's message and the film's message.
But I learned that there's a certain character that can be built from embarrassing yourself endlessly. If you can sit happy with embarrassment, there's not much else that can really get to ya.
I like the idea of movies having a magic element. How many times have you seen an actor in a movie who you know only as the character? It's wonderful, isn't it?
I tend to stay in character between scenes... to be rather serious on set, but here's why, and I think people will find it surprising. I'm one of the worst 'corpses' on a movie set, which means you can't keep a straight face. You start to get the giggles and you can't stop.
Shakespeare gives you these clues - these little pieces of gold dust, I call them. They tell you so much about the story, the character, the drive, the intentions. It's like a gift.
Shoes for men are about elegance or wealth, they are not playing with the inner character. That is why women are happy to wear painful shoes.
Cinderella is not only an iconic character when it comes to beauty, grace and fairytale love, but also shoes.
A house is very much like a portrait. I cannot disconnect houses from people. The thought of arrangement, the curves and straight lines. It gives an indication of the character at the heart of it.
Every character thinks differently, and every character has a different energy and way that they tick. But to find a character like Kai, who is so far that he doesn't even feel things, he is so different from me. That is the most exciting part.
When they sold me on 'Supergirl', I went and sat down with Andrew Kreisberg and Greg Berlanti, and they described the character to me. Greg Berlanti used a couple of music theater references to kind of explain who the character was. They threw up Chris Pratt in 'Guardians of the Galaxy' as a reference point.
I've done many body scans. Every time your character fights in a different look, they'll rescan you. Because my character has taken so long to get a super suit, every time Mon-El fights, he's in something different.
When you get a character that you're just starting to work on, it's the most exciting and most terrifying feeling because you have endless hours of diving in, researching, reading, and decision-making.
Everything you write makes you better. But if you really need a tip, here's one: a good story begins in opposition to its ending. That means you work out how it finishes first, and then begin the story as far away from that point - in terms of character development - as you can.
My mentor Jon Simmons introduced me to the Stanislavski system, which is so heavy on back-story. So you write and write and write these back stories about a character and then you throw it away. So then on set, if it doesn't come, then you didn't do your work.
I just look at the character and the arc of the character, and see if it's going to be challenging. We always want to challenge ourselves. That's the biggest thing that I look at. Is this going to be a challenge? Is this going to be something that I can try my best to create, that no one could see anyone else do?
I feel like any experience you can have which adds to your repertoire of things you've done and can add to your character - I'm willing to try.
The experience with 'The Knick' is a singular experience. That experience taught me a lot about acting and about being on camera for extended periods of time to try to create a character arc that travels.
Comedy comes from a place of hurt. Charlie Chaplin was starving and broke in London, and that's where he got his character 'the tramp' from. It's a bad situation that he transformed into comedic one.
As soon as I feel people are talking too much about my character, it's time to leave.
In 'The Travelers,' everyone is defined by his or her relationship to work. I put each character on a different rung of the ladder: from the lowliest assistant to a powerful man in the world of media.
You have to believe that you are the character or the thing or whatever the hell you're playing.
'Star Trek' scared me a lot more than 'White Jazz.' It terrified me, really. Because of the scale, the responsibility, the fact that it was this iconic character. It was the bigger challenge, so I had to take it.
I'm still fighting really hard to get any role I get. If it's comedy, I go for the laughs. And if it's drama, I try to tell the truth, and try to play the real stakes of whatever scenario the character's in.
The great thing about working in comics is that visually, you're the sole voice. You have to figure out the staging, the lighting, the composition, the character emotions, the action. You get a script, but you're trying to work it out in individual panels. It's a terrific exercise in creative thinking and creative problem-solving.
I had a great experience working with Dynamite on Masks, and had just gotten started on a stint on The Shadow with them when they floated the idea of a Captain Action series. I've been a little obsessed with the character since I was first introduced to him in the pages of Amazing Heroes back in the early 1980s.
Superman has been my favorite character since I was six years old, and I have more comics featuring Superman than any other single character.
I think the character of Superman may be the greatest fictional creation of modern times, and working on the book is for me a sacred trust. I'm just doing my best not to disappoint!
I would love to play a British character one day. My accent wavers between Scottish and Irish very easily, though.
I never like to think of any character as being over. I'm always thinking of different ways of bringing them back.
I don't like to analyze what I do too much, but I certainly never meet a single person and say, 'You're the next character.' People think that's what I do. They also think that I sit down and observe and try to imitate random people. I've never done that at all.
I believe people leave a theater bonding with characters. Story is the vessel that carries character. Comedy is a very important component of expressing character.
My experience is that there's absolutely a correlation between the enthusiasm within an animation studio for a given character and the enthusiasm the audience feels when seeing the movie.
If you're going to make a movie about a character who is a supervillain, it's fantastic to have a core sense of empathy for that character.
If you're playing your character and you're running into all these people who know who you are and treat you in a way that doesn't pertain at all to the character, it takes you out of it more, so when you're alone in a city where people don't know you, you can kind of pretend even more and get into the head space of where you need to be.
No matter how heinous someone's behaviour, if you make them a comic character, you can't expect people to hate them.
I think so often about how, when I was starting out at UCB, Conan O'Brien was in town, and on his show back then, they sometimes did character bits, and I started getting paid to dress up as a page or a Dutch boy on his show.
The more conflict and contrast you have with a character makes it more interesting.
You have the massive world that was created by Marvel, and then you have these very intimate actors around you. There was as much character work on this as there would be on a little independent film. So, I felt very fortunate in that sense.
You get the part, sign the contract and start to realize millions of people follow this guy and know more about your character than you do.
Not often do you approach a character where people know more about him than you do.
I don't get in there and create a character. It's more of a voice that I hear living inside the music.
The premise of 'Deadline' forced me to go against my own grain with a character determined to find all that is valuable in that time. I believe this is a story about redemption; how, even with the best intentions, it's sometimes found and sometimes not.
I want to look at this character from all points of view. I know I don't want to make them all good or all bad or all anything... the story itself often helps create the character.
Jack Lemmon always said you can't learn how to act without doing theatre, and I agree with that. Because anyone can do a character for a take, but can you do one for 40 minutes at a time?
I think that's what you're doing when you go see a movie... projecting yourself into that situation. The more you can feel or see the thoughts of the character, I think the more you can live in that world.
I'm a Jesuit when it comes to structure, but I really think that structure is defined by character. Everything serves that master.
Luckily, I went to school at CalArts, and then ended up here at Disney, starting in the Animation Building and working my way up. I started as an animator, and then did character designing and storyboarding, and eventually, directing.
I think what I reacted to so strongly when I first saw 'Pinocchio' was that I identified with the character so strongly. The movie takes you on a whole journey, a rollercoaster of emotions, and that sometimes means some very scary places. But in the end, it comes out okay.
Larry Drake - I love his work... He plays a very disabled character like the role I'm playing.
It's funny - I was a big fan of 'The Sopranos.' It became kind of a threat to 'The X-Files' in a way because they could play with language, character, and story in ways that we never could because of the limitations of network television.
The advantage of being the creator of the character is I know them better than anybody, I like to think. But the reality one has to deal with in a serial collaborative medium like comics is that you're not the only one who writes the character.
Throughout your whole career, there's a bunch of people you might have to kiss. Say there's this character opposite you, and you might not be into her - or him, personally. You just gotta' do it. That's your job.
I think the genre of comics sometimes overtakes the medium, and people assume that they are kind of frivolous. If you have a good, strong story teller, they can be as affecting as any character in literature. Period.
It's a strange thing, but you get this click in your brain; the wonderful feeling that the entirety of a character is suddenly available and accessible to you.
I think I enjoy working obviously as a lead, but also you know I feel I'm also a character actor as well, so I enjoy approaching various projects in all sort of capacities. Any film I have been able to do I feel very fortunate to have been a part of.
In Asia, I didn't feel like I was Chloe. I felt like I was acting like someone in Asia. I was acting like Chloe Wang, a pop star, that was like a character for me, if anything.
Non-fiction, and in particular the literary memoir, the stylised recollection of personal experience, is often as much about character and story and emotion as fiction is.
The best novels are those that are important without being like medicine; they have something to say, are expansive and intelligent but never forget to be entertaining and to have character and emotion at their centre.
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