Character Quotes
Most Famous Character Quotes of All Time!
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Before the film begins shooting, in your head, you need to be the character. You have to convince yourself somehow.
As an actor, you think you know your craft, you know the conflicts in your character, but often you don't.
There are so many ways to approach a character. You have to figure out the similarities between you and the character, build on them, and at the same time, blur the dissimilarities. Since you do it day in and day out, it becomes a process and a part of you.
I can also romance a guy if I like the character and the script. Obviously, only in the film!
The best way to show an emotion is not through a character's words, but their smallest expressions - to take what an actor would visually do and try putting that down on the page for the reader to 'see.'
I had wanted to be a regular character on a series for a while. 'The Brady Bunch' was an answer to a prayer.
Real novelists, those we admire, those we consider timeless in their language and character and scene, those who receive accolades for inventive language and form, have writing lives we imagine in specific ways.
There is no 'right' way to begin a novel, but for me, plot has to wait. The character comes first.
Could there be a cowgirl in my future? You know, I never know what character is going to come and tap me on the shoulder and say, 'Hey, tell my story.' So maybe the next one will have boots.
There is nothing like being able to develop a three-dimensional character over a long period of time. Sometimes you aren't able to fully portray a character because you only have a couple of scenes to do it in, and you don't get the full life and background of that character.
After a while, the person who knows the character best is you, the actor.
I don't think you could change my father; he is a very strong character. He believes totally in honesty.
When I create a character, it happens in layers. The more I write and revise, the better I understand the characters.
When you are involved with the film and the character, you don't find it tiresome at all. But if you think it's tiresome, it will be.
Anakattil Chackochi was a titular character that appealed to all irrespective of age and my son, as a kid, used to call himself Kochu Chackochi.
When people leave the theatre, they should remember a line, a character, a sequence or emotion. With entertainment, I want to give meaningful cinema.
I play Harsh Vardhan, a good cop. 'Baaz' is a thriller, in which you doubt every character. I loved the script, as it is very tight and exciting.
I still don't understand why the tag of 'action hero' follows me. My films have all these elements - romance, action and comedy. None of the fight sequences of my character is an act of randomness. There's a reason to action in my films.
Prison make you a better judge of character. You pick up on people much faster.
On 'True Blood,' the character's name is Sookie Stackhouse, and my name is Suki Waterhouse. So, I get people saying, 'Oh, I thought we were meeting the girl from True Blood.'
People are always thinking that I'm the main character in my books, but each one has been different, and sometimes they've been men.
Novels attempt to render human experience; that's really all they are. They are meant to convey empathy for the character.
By making the gay character funny and sweet but above all normal, you make a far better, longer lasting statement than you would if you had an entirely gay comedy.
I really think that studying theater early on really helped me to be able to identify how to get into a character, because it's such a mysterious thing. Learning objective acting in the beginning of my career was the best thing I could have ever done.
I like portraying women of character in my books. Women who exhibit loyalty and courage.
The character of Rosie is based on a woman who used to live in the same apartment building I lived in many years ago. She's taken on a life of her own, of course.
If you are the sort of character who likes to feel you are in a battle, then make sure you do that.
You don't want to play a character you can't inhabit or commit to fully.
I abhor crime novels in which the main character can behave however he or she pleases, or do things that normal people do not do, without those actions having social consequences.
Ultimately, I don't think you can be a character who's completely alien or divorced from your own personality. It's probably true of every writer - it's probably true of every filmmaker, every songwriter - that, ultimately, every character you create is a facet of yourself.
What's fun for me is to try new things and push myself and not get stuck in one genre or another, or stuck with one character or another.
When you love a problem, its contours, obstacles and resistances are all just part of its character.
I want to know exactly how the first few measures are going to go, and the rough shape of a movement or the whole piece and its essential character.
Audiences make their minds up about people they see on screen, just like they do in real life. That's what fascinates me in film. You see a character and have to think: is this person different to what I assumed he was when I first saw him?
With TV, your structure is determined by the series not the episode. You can have incident without consequence to the character, but keep your eye on the ticking clock of the series.
I think it's always good not to listen to what the rules are supposed to be about the arc of the character and the third acts and all this stuff.
Gomez is a by-the-book cop. He's the only character not to break bad.
Dad lived his life in a way that it was his character, not his circumstances, that dictated what his life looked like.
I especially object to having my character assassinated by reference to events from my past which bear absolutely no relationship to the question of who the anthrax killer is.
It gets too easy to write from the point of view of a male character of my age, with the same cultural frame of reference.
The beauty of acting is you just get lost in it. You play the character, and you hope that it works.
My character on 'I'm In the Band,' Derek Jupiter of Iron Weasel, is definitely one of the crazier ones. That's completely on the other end of the spectrum. There's absolutely nothing like Derek any shape or form. I'm having so much fun playing this egotistical, '80s-era rockstar - everything he does is from the point-of-view of a rockstar.
Henson had never spoken to me about Kermit, but he had spoken to Frank Oz about the idea of me doing the character if he became too busy. I felt flattered.
At the end of the day, you are judged by your character. And look, I'm proud of my record of working to help people throughout my years of public service.
If it's time for your character to go, it's time for your character to go - you know what I mean? That's it. It doesn't matter who you are.
When a child grows up without a father, there is an empty place where someone must stand, providing an example of character and confidence.
I think leadership is more than just being able to cross the t's and dot the i's. It's about character and integrity and work ethic.
I was in love with this character of Ray Krebbs. I wanted the part badly. I had done several Western films in my career at that point and there wasn't much opportunity then to play Western roles on television at that time.
I always find it easier to portray myself as being unlikeable and idiotic; to actually play a character that is likeable and engages the audience is far more difficult. It's a more subtle kind of challenge.
If you start to disrespect the character you're playing, or play it too much for laughs, that can work for a sketch, it will sell some gags, but it's all technique. It's like watching a juggler - you can be impressed by it, but it's not going to touch you in any way.
I don't know for a fact, but I feel fairly certain that the first person who described a movie as 'character driven' had to have been a producer or studio executive.
That godfather of the modern action blockbuster, 'The Godfather,' is entirely character driven, propelled by the transformation of a crime lord's youngest son, who breaks bad when he evolves from white-sheep war hero to blood-soaked inheritor of his father's empire.
The instant that movies became described as character driven was the instant when characters stopped mattering in movies. In other words, the birth of the notion of the character-driven movie coincided with the birth of movies in which characters were incidental to the very activities in which they engaged.
I talked with Quentin about where the character came from, and he told me Kansas City. I don't know how somebody talks from Kansas City, so I made him from New York.
It's interesting when you're trying to create a character in animation. It's really a communal effort.
I wanted to do something raw and raucous and R-rated. But then 'Middle School: the Worst Years of My Life' came to me. One reason I took this movie on is because I saw it as a really great opportunity to revisit my own past through this character.
I grew up in a very culturally diverse area of America, and I am very proud to come from there. I am also proud that my inner circle of friends has never been defined by race but by the content of their character. Any former teammate or anyone who has met me can attest to this, and I pride myself on not being a judgmental person.
With any character you portray, you can never play the end in the beginning. You have to pursue and attack your intention as if they're going to be successful.
I think, for the first time, people are starting to say, 'That's Sterling K. Brown,' which is cool, which is uncharted territory for your boy. It's nice to be called by your name when you're not in character.
Every person has a different view of another person's image. That's all perception. The character of a man, the integrity, that's who you are.
I love actors. I love working with actors. I really enjoy the process. I love having those in-depth discussions about the interior of their character, and actors really love to discuss that, too. I could talk about that for days with them. They love that, and I love that.
The only virtue a character needs to possess between hardcovers, even if he bears a real person's name, is vitality: if he comes to life in our imaginations, he passes the test.
I'd like to own a movie camera - a proper one, with film, not a digital thing. Celluloid has more character.
I would have to say News Radio is the highlight of my career. I love the character so much.
It's easier to play a dim character, for me, because I have a natural bent for comedy. It's not intrinsic for me to be crafty, so I would have to go outside for a source of origin. I think of myself as pretty dim.
Well, I think probably when I first got in the business, I wasn't thinking of being strictly a character actor. But I knew I wanted to be a working actor, and as the years have gone on, I just naturally evolved into that. Because, y'know, I'm not a leading guy. Never was.
In order for comedy to be funny you have to play the truth of the moment. But if you're not being completely truthful to the basis of the character, its not going to be funny.
Every single song I've ever written is sung by a character created by somebody else. Some might have a jaundiced view of love, some don't. But none of these songs is me singing - not a single one.
When you play a character you have to ask yourself, 'Can I make sense of what's happening here? Is this authentic?'
I always pushed back on doing long-form. I imagined SpongeBob as being simple, and I wanted to concentrate on character humor.
I think it's amusing to watch a naive, well-meaning character kind of undo more cynical characters - kind of like watching Laurel and Hardy or Charlie Chaplin.
I knew I wanted to create a character who was nerdy and kind of square, so when I drew a square sponge, everything came together. And originally his name was SpongeBoy, but there we couldn't use that for trademark reasons.
The exterior cannot do without the interior since it is from this, as from life, that it derives much of its inspiration and character.
If I get the walk of a character, that helps me find them. So I'm constantly looking at airports and train stations, registering walks.
There has to be something that I like about a character for me to be able to play him.
If the main character's not in jeopardy - physical, psychological, emotional, whatever - then you don't have any tension, and you don't have a story.
I have to phrase this perfectly: I'm just not convinced that the attention we give to creating what we think of as a character isn't actually quite often the means by which an actor overcomes his own terror of standing there onstage and creating a mask to hide behind.
Even in 2012, if there's a black character in the movies or on television that's a professional, if we even hear about their backgrounds they're always 'up from the streets.'
The trouble with the jokes is that once they're written, I know how they're supposed to work, and all I can do is not hit them. I'm more comfortable improvising. If I have just two or three ideas and I know how the character feels, what the character wants, everything in between is like trapeze work.
I'm a satirist, so I've got boxing gloves on if the person is worthy of satire. But I'm not an assassin. If that ever happens, it's only because something happened during the interview that got me going, and then I had to translate my feelings to the mouth of the character.
I started off at the Second City in Chicago... It's an improvisational theater that ostensibly does social and political satire, but when I was there, we generally didn't. We did character work, and we did just the silliest things we could think of. We weren't all that concerned with, you know, changing the world through mime.
Our character is basically a composite of our habits. Because they are consistent, often unconcious patterns, they constantly, daily, express our character.
When it comes to developing character strength, inner security and unique personal and interpersonal talents and skills in a child, no institution can or ever will compare with, or effectively substitute for, the home's potential for positive influence.
Just as we develop our physical muscles through overcoming opposition - such as lifting weights - we develop our character muscles by overcoming challenges and adversity.
It takes a great deal of character strength to apologize quickly out of one's heart rather than out of pity. A person must possess himself and have a deep sense of security in fundamental principles and values in order to genuinely apologize.
Washington's character was rock solid. He came to stand for the new nation and its republican virtues, which was why he became our first President by unanimous choice.
I have a character failing. I am quite incapable of identifying with anything whole-heartedly. Whatever I am doing, I am always planning to do something else. I would rather travel than arrive.
I decide what character I am. I allow myself to become another person. Because if I'm just Stephanie, I'm not comfortable. When I have to jump and do all these things, I feel so silly, but if you become someone else, it's okay.
Joanna is a strong female character, and I love playing her. But one of the things about her is that she always says exactly what she's thinking.
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