Character Quotes
Most Famous Character Quotes of All Time!
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Shaheed Diwas 2026
I think it's very important to write a demythologized woman character. My characters are flawed. They are no better than they should be.
If you can just actually let the character be for a bit, then you get the right sense.
I wrote a story about a character who looks like Harry Styles. But it has nothing to do with Harry Styles at all.
I always tend to think, even in residential projects, about what a space is being asked to do - where is it located, what are the circumstances, where can I attack the problem, so to speak. How can you create a narrative for people moving through it? How can you convey its character?
The opulence and grandeur of a lot of period drama really helps you get into character and appreciate the luxury of good quality. If you're fashion-minded in any way, you can't help but be incredibly inspired and apply elements to your own style.
A part of being an actress that is sort of frustrating is that the writers get to tell you about your character.
The people I see be the most successful are the people who have an inner confidence and an inner strength that comes from the character they display away from the stage and from what their parents taught them.
I think right after 'Up in the Air' everyone wanted me to play the girl from 'Up in the Air,' and it took a little while for people to think of me as an actress from a film that they liked instead of just that character.
I get really excited every time there's a female character who is really strong because a lot of females in film are really soft.
You can relax more when you're playing a silly character than when you're playing a really rigid character. But to be fair, I think George Clooney is a bigger teenager than any of the 'Twilight' cast. He's the guy throwing a football at your head and then hiding around the corner, pretending it wasn't him!
I was really overwhelmed by the amount of roles that I got offered that were carbon copies of what I did in 'Up in the Air.' I got every offer for every ambitious, unfeeling practically robotic character.
Having no diplomatic representation in Washington, China has no sources which allow her to check the character of applicants and therefore makes the practice of refusing everybody from the United States.
I played crying people in corsets for a long time, but I went into acting to be a character actor.
I don't want to play the same character seven times. I think people would probably get bored of it.
I can't stand confrontation, which maybe is a character flaw. But having said that, I do feel like when I do get upset - which is rare, as my husband and family would say - I have a hard time letting go.
The doctors say it dates back to a film where I had these huge prosthetic breasts because my character was breast-feeding. The weight of them, and of the baby, did my back in.
I play a character every day of my life, and I don't want to play a character as myself. They can judge me as an actress, not as a person. I'm not a spokeswoman for Anna.
And the most important thing - apart from telling a good, believable story, and being a true character - is to be someone the audience will care about, even if you're playing a murderer or rapist.
The critics had an image of me, and they wouldn't accept any other... I was a cartoon character. A joke.
The most irritating movie character for me was that cradle-to-grave commie, Mary Poppins.
I feel more European than Belgian. However I do think that my Flemish roots have an impact on my character and culture.
In general, between an actor and a character, there needs to be a falling in love, if you will - which I'm saying in quotes.
I love science fiction, and one of the things I love about it is that it's so very different. You can read stuff that's just fast-paced adventure, and the characters are cardboard, but who cares, because they're heroes, and we love it. And you can read stuff that's really deep character, and everything in between.
My character Preet in 'Fanaah' had a very distinctive appearance: loud make-up and dramatic clothes.
To play an older woman, 'til the look is not affected, it is never a problem for me. To play a matured character, it's different. You get to learn so much. It becomes more serious.
Love and marriage are wonderful arenas in which to place a character. We are most likely to risk our morals and beliefs while in love. Betrayal gives tremendous insights into a character as well.
People want to call me racist for doing the Bon Qui Qui character, and I'm like, 'Look, Bon Qui Qui is a representation of a hood chick. That's it.' There are lots of hood chicks out there: some are black, some are Mexican, some are Salvadorian, and some are white.
Once, I was doing Bon Qui Qui in Miami, and this black girl was in the audience, and she yelled out, 'That's not funny!' which was really funny because she sounded exactly like the character I was playing.
My process seems to be unusual in the sense that I don't create worlds before characters. With me, character is king.
I've tried to be inclusive in my '2B' series. Over the course of three books, I wrote African-American characters, a paraplegic character, gay and lesbian characters, a bisexual, Jewish heroine, a multiracial hero, Korean and Chinese-American characters, and a multiracial supporting character.
Quite often my narrator or protagonist may be a man, but I'm not sure he's the more interesting character, or if the more complex character isn't the woman.
I don't want to play the girlfriend who's there because she's the girlfriend. And. That's. Her. Job. I want to play women and girls who are active and strong and who have a character arc and make decisions and have a rich background.
Jake from 'Two and a Half Men' means nothing. He is a non-existent character.
I guess that in a lot of ways, my writing is more of a character to me than something that I feel personally attached to.
I think the very idea of character, of developing not just grit, but empathy and curiosity, emotional intelligence - you know, the things that I want my own daughters to develop - the idea that we're going to get there through rewards and punishments seems completely at odds with the idea of character itself.
I took my pants off in my 'SNL' audition. It was to do a character called Out of Breath Jogger from 1982. I had short shorts on underneath. It eventually aired, so it was worth it!
After 'Kong,' my knuckles have never recovered because I had to wear very heavy weights on my forearms and around my hips and ankles to get the sense of size and scale of the movement of the character... You are telling your body that you are these things and that you're feeling these thoughts and that you're experiencing these experiences.
I don't see a difference between playing a performance capture role and a live action role, they're just characters to me at the end of the day and I'm an actor who wants to explore those characters in fantastically written scripts. The only caveat is a good story is a good character.
In 'Tintin,' it's like a live-action role. You're living and breathing and making decisions for that character from page 1 to page 120, the whole emotional arc. In an animated movie, it's a committee decision. There are 50 people creating that character. You're responsible for a small part.
Love every role to be new, and I always like to bring a freshness to every character I play, but that comes down to the script. So, it's important that it's a good script with good, truthful characters and truthful subjects.
I think the book struck me in a few ways that I thought very interesting to pick it as my first martial arts film. It has a very strong female character and it was very abundant in classic Chinese textures.
Wong Kar Wai is a very intense character, very personable, and I believe in general he does not like and he would not want his actors to show their true looks and their true personality on screen.
In fact, one of the descriptions of the character in the book is that 'IT' was not very good at replicating human emotions. And that's something that is overlooked in general.
My approach to Pennywise was, on one hand, I wanted to stay true to the essence of the character but at the same time make it an edgier character that is basically unpredictable and people won't expect everything he comes up with.
Everything that relates to Pennywise and Bob Gray is very cryptic, and it's like that for a reason. Probably the success of that character as a monster, as a villain is because of that crypticness and uncertainty that people have towards him.
The character of 'Mama' is so ambitious in a way that everything I did was always on the verge of being almost funny. So you have to be very careful with that. It's that sort of face that you don't usually see in horror.
Bitumen, the new national staple, is redefining the character and destiny of Canada. Rapid development of the tar sands has created a foreign policy that favours the export of bitumen to the United States and lax immigration standards that champion the import of global bitumen workers.
To distract myself from writing, I was singing Bob Dylan's 'My Back Pages.' You know, 'I was so much older then; I'm younger than that now.' I thought, 'I should write a character like that.'
If you're reading a mystery novel, you kind of want the character to solve the crime instead of completely bumble their way through it.
We started a movement... to build character, citizenship and confidence in young people.
We looked at Ian Curtis from the band Joy Division. He was a very ultra cool, non-expressive character. Cutler is confident, but people sometimes mask their insecurities with confidence.
I always quite like the idea of casting against type when I'm looking for and trying to understand who a character is.
You and the character just become the same person in a way. There isn't really a character; it's just you creating this illusion.
I have had the opportunity to work with Andy Lincoln a lot. He's got a remarkable process. He just has these ways of sinking into the scene and into character that are very physical. He'll make these sounds and these grunts and these moans... I don't know what it is that he's channeling! It lets you know it's okay for you to do that, too.
You want to go into scenes thinking not that you're the good guy or the bad guy, but that you've got a job to do. And I'm not talking about as an actor; I'm talking about as the character.
In Shakespearean tragedy the main source of the convulsion which produces suffering and death is never good: good contributes to this convulsion only from its tragic implication with its opposite in one and the same character.
Nor does the idea of a moral order asserting itself against attack or want of conformity answer in full to our feelings regarding the tragic character.
I'd love to adapt more contemporary novels. But there isn't really enough story and character to make a really satisfying serial, so they tend to be single dramas.
Actors look for characters. If they read a well-written character, and if they think the director's not an idiot, they're going to sign up and do some acting.
There have always been two people jostling for control of my life, two totally opposite characters. The first one is super-confident, bulletproof, a showman, and an extrovert. He tries to make people laugh, messes about, gets into trouble, shrugs it off. The other character is withdrawn and reflective.
As a cricketer, I played on bravado and character. My personality was bound up with how I played the game.
Allowing alternative narrative modes in popular entertainment may seem obvious, yet when you turn a pilot into the people upstairs and the main character isn't after what she wants by the top of page two, you get treated as if you've failed at writing.
Well, you know, what's better? To play a character who stays stuck in the same baggage year after year, or to play a character who gets beyond that and goes to a new level?
My character was obnoxious, had stinky feet and wore things like purple tights and a yellow top. I hated the clothes.
Every audience has its character; I like America - they love me. I suffer from stage fright, but in America not so much.
I really believed that if I could play that character, who is grounded in the earth and the history of the United States - not the kind of role I usually play - it would help me change the perception out there and my own perception of what I can accomplish as a performer.
I've seen other actresses refuse to be ugly. Even if the story line calls for it or the character calls for it, they just can't go there for vanity's sake, and they don't want to be perceived in an ugly way. I was like, 'Nah, I wanna go for this.'
I really needed a show like 'Jane' when I was growing up, so being able to portray a positive Latina character means a lot to me because I feel like it's helping me to contribute to someone's dreams.
Often, I'll read a script and the female character's an extension or serves some sort of purpose in terms of the male character's narrative and it just isn't fully formed. But they will be very beautiful. Whether a secretary or a doctor or a vet, they will be very beautiful.
As a matter of writing philosophy, if there is one, I try not to ever plot a story. I try to write it from the character's point of view and see where it goes.
If you create an act, you create a habit. If you create a habit, you create a character. If you create a character, you create a destiny.
I'm a very respectful fighter, I don't get out of character and start talking crazy, but if you don't want to fight a fighter, or you don't think it's a good style, or it's just not time, then say that.
When the OutKast sound changed and I started producing my own records, I would mirror what I thought that character doing that music would look like. As the sound got a little wilder, freakier and funkier, so did the clothes. Then when the sound got more sophisticated, the clothes changed again.
To me, the psychology behind the character is critical. So I work very hard to get into the mind of the man that I'm going to be playing, because number one, I want to understand why he's doing what he's doing. It's essential, it's absolutely essential.
Losing yourself in the character opens you up in a way that no amount of precise preparation can.
Fame and success and titles stay with you, but they wear out eventually. In the end, all that you are left with is your character.
'Ugly Betty' has been the most important thing I've ever done, easily. I was able to do more with one character than I can ever imagine doing again - Hilda was hilariously funny and emotionally deep... I really got to showcase what I could do with a character.
Sometimes in my class I have people come in and do monologues inspired by people they know and I always find that to be useful to do specifics about somebody and then you're actually doing a character and not doing some random old lady or something.
If you do a scene and you really like a character in it or a premise in it to write it down and to work on it so that you can have five or six characters that you can pull out in an audition.
First of all, the actor needs to get out of the character's way. You follow the character without judgment or prejudice or preconceived ideas.
You know when you watch old movies, it's always the small parts you remember, the character actors who come in like a breath of fresh air.
Imagination, it turns out, is a great deal like reporting in your own head. Here is a paradox of fiction-writing. You are crafting something from nothing, which means, in one sense, that none of it is true. Yet in the writing, and perhaps in the reading, some of a character's actions or lines are truer than others.
Raju Gadu' is a situational comedy where I play a fun and bubbly character. She's a proper Andhra girl who's modern but loves donning desi looks.
Bascially, I want to do movies wherein even the girl's character actually has a part. If you want me to do glamorous roles, that's fine. But you have to make sure the character is good.
You will not find me repeating a character or carrying similar mannerism in different films.
I had been struggling with how to create a child-like protagonist's voice without making it sound as though I was 'dumbing down' to the character. They are able to see events, people and places with an intensity and open mindedness that adults lack.
I wanted to do something about a really optimistic character: a character who was so optimistic, no one could burst her bubble.
For me, as an actress, you are playing a character, and to play that character, you have to get into that mindset.
Some of the greatest stuff that I watch, that I'm drawn to, is deeply flawed human beings, because they're representing a part of us that might not be all of us but the part we're most afraid to look at, and so we get to vicariously experience it through this character.
I love Meghna Gulzar's film making and her style of story telling. In her films, every character, small or big, is beautifully etched.
Usually when people see me, they see me as more of the soft-spoken one rather than being the witty, smart-tongued character.
I feel there's something about becoming a character that helps people understand themselves.
I was raised by extremely strict - but also extremely loving - Chinese immigrant parents, and I had the most wonderful childhood! I remember laughing constantly with my parents - my dad is a real character and very funny. I certainly did wish they allowed to me do more things!
We play many emotions in our careers, emotions that in real life we would perform just once. For example, my character has died in about 10 films, so you have to keep searching for different ways to do it!
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