Character Quotes
Most Famous Character Quotes of All Time!
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Shaheed Diwas 2026
I'm a big believer in sort of sense memory, like using something that you've experienced in order to put yourself in the position that the character is in.
I took Meisner for a long time. I use a lot of sense memory and, well, I wouldn't say Method, but I can't really avoid getting into character.
My manager got the script for 'Under the Dome,' and I read it and just fell in love with the character. I grew up on Stephen King, and I love his whole aesthetic of the classic American story with supernatural events happening, so it just made sense.
My parents were very supportive and always encouraged us. My father was a gentle, nice man. My mother was quite a colorful character and a keen reader who encouraged me to write.
If a man's character is to be abused there's nobody like a relative to do the business.
When you get into a film, it is one story and one set development of a character, and you are able to delve into one character for a short period of time and discover everything about them.
'Divorce' was kind of strange because I was going in and out of doing it while doing different movies! So, I kept returning to a set character and this set gig, and that was kind of interesting for me as an actor.
I relate to Michael Keaton's character in 'Birdman' so much, how he has that voice being so mean and then another boosting his confidence.
When it comes to the Alexa Bliss character, everyone says the character has to be an extension of yourself turned up. But I feel like I am the complete opposite of Alexa Bliss.
When I came up with the Alexa Bliss character, I wanted to be the girl that everyone knew. There was always that girl in high school who was mean to everybody. She was mean and rude, but everyone still voted for her to be homecoming queen. That girl. And I wanted to portray that girl.
I got a lot of motivation from my character of people-watching. And if they do something that annoys me, I steal it and do it because I know it annoys other people. If it annoys me, it's going to annoy you.
When I first joined with Murphy, I had to make a character change. I wasn't confident in myself about that at all, but I remember my mom telling me that once something clicks with me... I had to... come in and kick the door down and let everyone know who I am.
I guess people would describe me as the character I portrayed in NXT when I threw glitter and wore tutus and was very bubbly, because that's what I love.
My character isn't supposed to be flashy and be over-the-top. I'm supposed to be dirty in the ring. I'm supposed to kick and punch, and I'm supposed to cheat and find ways to win at all costs.
My mentally for my character is you have to be first, better, or different. I know that I'm not the best at everything; in fact, I'm not the best at a lot of things, so I'm going to be different, or I'm going to be the first one to do it.
My image has swallowed me up! I've given so much out to this projected version of myself, but now I have to live up to this character that I don't even associate half the time.
What makes Johnny Depp so brilliant is you truly have no idea what kind of character he's going to play next.
On 'Glee,' we often tackle the tough topics that young people face - in fact, my recurring character, Wade 'Unique' Adams, is a transgender teenager who finds herself navigating a lot of the same problems many young people face around the globe.
You want to play as much as possible, but I am not the type of character to go bursting walls down.
The thing is when you play a character it's the persona you bring across from a book to film, or book to script to film. If I play Frank Sinatra, there's gonna be things I do in a movie that Frank might not have done, but it's the personality that comes across.
I never think about the next movie. I always think about the situation I'm in now, but you do think about an arc someone can go. I love Johnny Depp, I love 'Pirates of the Caribbean,' but I never wanted to play the same character over and over again.
Look, every actor has a different way of preparing or creating a character and yeah, we all are from different backgrounds.
And that's what I really love, is finding a script and fantasizing and going to a different world and kind of portraying a character that is interesting. Because other lives interest us, that's why we read magazines like 'People' and try and fascinate and drool over what other people are doing.
I played a very complex, multidimensional character - Piglet in 'Winnie-the-Pooh' - at age 7 in England.
With shows like 'The X-Files' or 'Eerie, Indiana' - even though they would have comedic moments, even though they would have character moments - there was a sincerity about magic.
One thing that's a lot harder to put into stories than you'd think is the idea of a traditional monster, because monsters with a capital 'M' don't inherently lend themselves to a story about your character. Unless one of your characters is themselves the monster, simply having a monster leads to a chase or a hunt.
The more a character wants and the less a character has the ability to get what they want, the more you have an endless fuel for storytelling in comedy.
There's a character that I play onstage, and I can't let him loose in the supermarket when I'm buying my beans on toast.
I don't think my looks are modern. I always imagined I'd end up doing Chekhov, Ibsen and Shakespeare all my life and never play a contemporary character.
If anyone out there wants me to play a Pre-Raphaelite character, I'd do it in a flash. That's what is so curious about my playing a modern doctor. It's not the sort of part I saw for myself when I began acting.
I think all human beings can surprise themselves when they are in situations where they are tested. That's when you see your true character coming out, and I was definitely tested.
Every young person needs to have a character that they can identify with and feel included by.
Women are strong. We are strong because we are used to the pain which comes every month. It forms character. I want to see the man who goes to the Parliament with the belly puffed out. They can't do it.
I see myself as a character actor, and I've always been drawn to playing characters that are different from myself because acting is escapism for me. I've never been that comfortable playing people that are like me.
I started off as an actor thinking that I would be this Romeo, this dashing leading man. It turns out that I'm a character actor.
The Serbian people are very kind. Sometimes life is ruthless, and you have to show character. But come to Serbia and see how friendly everyone is; then you'll change your mind.
I would say that it's mainly about the director. It's a hard quality to find, but I always know whether I want to do something or not. The character is important to me, as is getting to work with people that I feel like I can learn from and make a great movie with.
Each film and each character is a completely new set of challenges. It doesn't feel like you can rest on something you may have done well in the past.
What drew me to 'Beautiful Creatures' was the character that I get to play, Ethan. Within three pages, I knew he is so specific and interesting.
My approach is always the same. I try to be as honest as possible. Find the real honesty and humanity in the character because even a fictional character is supposed to feel real. And my job is to find that reality and bring it to the screen.
As far as playing different characters within the character, I think that's fun. Very rarely, on TV, do you get to do that on such a regular basis.
To be a character who feels a deep emotion, one must go into the memory's vault and mix in a sad memory from one's own life.
The willow which bends to the tempest, often escapes better than the oak which resists it; and so in great calamities, it sometimes happens that light and frivolous spirits recover their elasticity and presence of mind sooner than those of a loftier character.
I've never been on that side - being reviled by hundreds of thousands of people online. I guess that experience was really terrible, but it's just added another stitch to the tapestry of my character, so I've seen life from both sides now. I've been beloved and reviled.
In some respects, big ideas can be a bit too big for a short story - especially if you've only got a couple of thousand words to play with, and you need room for other stuff, like character, description.
One of the things I like about a character: I always think it's fascinating when a character can turn on a dime and go from one emotion to another. I like watching that.
Well, you know, with every character, if you're going to expose yourself, you've got to figure out every detail that you're going to play. So there's no character that you can just go put on his shirt and be fully prepared.
My dad played a character on the radio called 'Parkyakarkus.' A Greek-dialect comedian. He did Friars' roasts and wrote material and made people laugh that way. But he wrote his own shows with other writers.
I think I present a different side of a male character: a side that is not John Wayne-like, a side that is, in fact, destructible. To some people, that is refreshing, and to other people, especially if they don't know me, it may be disturbing.
Even in my comedies, I don't take anger as a joke. I think anger and laughter are very close to each other, when you think about it. One of the things I like about a character: I always think it's fascinating when a character can turn on a dime and go from one emotion to another. I like watching that.
Most people say that it is the intellect which makes a great scientist. They are wrong: it is character.
One strength of the communist system of the East is that it has some of the character of a religion and inspires the emotions of a religion.
Anytime you have an opportunity as an actor to really grow along with your character, I think that's a real gift.
I'm not doing anything Jack Nicholson turned down. Any part that required a character distanced from myself would have been a reach. But the one thing I've always done well at, and I'm most devoted to, is my children.
If you're playing a character who says whatever he wants, I felt free to say whatever I wanted on set.
On 'Master of None,' the majority of the episodes were just one story, and that was by design because we really wanted to focus in on the character of Dev and get the audience in his head.
I work in a dramatic context, meaning we write with a lot of character specifics, a lot of story specifics. There's a lot of architecture in our songs.
Everything you've ever read of mine is first-draft. This is one of the peculiarities of the comics field. By the time you're working on chapter three of your masterwork, chapter one is already in print. You can't go back and suddenly decide to make this character a woman, or have this one fall out of a window.
I could never be the kind of writer who went to the set of the movie and fussed and fretted about, 'Oh, that dialogue's wrong,' or 'That character doesn't look like that.' That would be insufferable.
Each character I play has different dimensions. I'm not interested in words that pull them together.
Every so often you read a play and a character just speaks to you - almost seems to speak through you, in fact.
Any actor who judges his character is a fool - for every role you play you've got to absorb that character's motives and justifications.
I really was a fan of his and always have been - his writing especially, you know? I think people a lot of times overlook that part, because he kind of got into that party character so heavy.
It's not a pretty face, I grant you. But underneath its flabby exterior is an enormous lack of character.
I usually can find a way to do a character to make it real and work. But sometimes it's a struggle sustaining that, because there's such a level of personal involvement and personal, physical, and emotional distraughtness.
Romeo is the most misunderstood character in literature, I think. He's hardcore to play because he's displaying the characteristics of Hamlet at the beginning, and, well, then everything else happens.
In one book, CACHALOT, just for my own amusement, every character is based directly on someone I have known.
Besides the mistakes that are pointed out, I love the way readers become involved with the characters. When readers start asking about character motivations instead of concentrating on the special effects, it means you're connecting with them on a personal level.
Good character consists of recognizing the selfishness that inheres in each of us and trying to balance it against the altruism to which we should all aspire. It is a difficult balance to strike, but no definition of goodness can be complete without it.
I wrote three mysteries and then a contemporary spy novel that was unbelievably derivative - completely based on 'The Conversation,' the movie with Gene Hackman. Amazingly, the character in the book looks exactly like... Gene Hackman.
It makes it fun. When an actor plays a character, you want what that character wants. Otherwise it doesn't look authentic. So I really want to defeat Jimmy - I mean Jimmy as the character.
I don't really worry about the size of the part much any more. It's nice to have more time to work on the character, and to have big scenes to play. But if there's something playable there, and if it's interesting to do, then that's nice.
I think all writers are armchair psychologists to some degree or another, and I think a character's sexuality is fascinating. It's a great way to really get at the root of their identity, because it's such a personal thing.
Ultimately, physical resemblance isn't as important as whether this person can bring this character to life in a way that's compelling and makes me care about what happens to them.
There are writers out there who say they're writing a second series, and then you pick it up and it feels exactly the same, only the lead character is blonde instead of brunette.
It was very easy to convince me to take on the job of character designer for 'Dragon Quest.'
Both my assistant and my wife tell me that during battle scenes, when a character is making a 'guwaa' sort of face, my face also ends up going 'guwaa.' So afterwards, my whole face is tired. I guess it's because I'm the kind of guy who gets caught up in his own work.
Style has become a crucial differentiating factor for most actors in the industry. I generally choose my look based on the character I essay. I research a lot on the Internet and pick something that would suit my face.
Generally, I think most of my writing tends to have some kind of magical element to it. That's the way I can access the emotional life of the character.
Language is the ticket to plot and character, after all, because both are built out of language.
I write on a very strict 2-hour-a-day schedule, and I really respond to structure and invented rules. So even if I'm finding out good information on a character, I will stop when I'm set to stop.
I always do what the character demands, and I love to experiment with my looks.
I always give weightage to performance more than the length of my character. That has always been my criteria for signing a film.
In 'Aarathu Sinam', I play a wife and mother. It's a very homely character, quite contrary to what I've done so far.
I'm playing my first urban character in 'Thirudan Police.' It's an important film because I'll be breaking the stereotype that I'm only fit for rural characters with this role.
I want to be known for this character on TV two nights a week, and then I want to go away and live my life in private.
When you do a play, you have all this time to rehearse and grow into the character. In television, even though you're waiting and waiting and waiting, once you're actually on set engaging in the scene with another actor, time is of the essence.
I feel respect is in your hands as an actor when portraying a character, particularly when it's from the Indian subcontinent. I do make a conscious effort to do so and often talk to the directors especially about the heavy accent when it's not needed.
In every character I play, I try to imbibe something. Every film is a learning process for me.
My thing about looking good is that it should be the character. If I'm playing a character who's concerned about his body - an athlete, say - I'll get in shape. If I'm playing a character who doesn't or wouldn't, I don't. I almost never get in shape for a movie, even though I know it would be a good career move.
It is in the character of very few men to honor without envy a friend who has prospered.
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