Best 14098 quotes in «character quotes» category

If you are not yourself, if you surrender your personality, you have nothing left to give the world. You have no pleasure, no use, nothing which will attract and charm me, for by the suppression of your individuality, you lose your distinctive character.

If you are on a TV series and you have a hard time disassociating from that character when you get home, your love life is going to suffer, your children are going to suffer, your friends will suffer.

If you are lucky as an actor, you are doing a character that really matches where you are in life, or you're doing a character that is not where you are. If it's somewhere in between, you have to use a lot of imagination and a lot of thought.

If you are inclined to leave your character solitary for any considerable length of time, better question yourself. Fiction is association, not withdrawal.

If you are referring to the characters of The Room, each character has a different personality which you can see very clearly on the screen. If you are referring to the actors, they give me different emotions, personality which represents human behavior.

If you are supposed to be villainous and have some sort of agenda, I like the idea of delivering that kind of character in a perfectly well-mannered way.

If you ask me, the place that a story happens is as equal character. It's almost like an ecological viewpoint: These people are living in this piece of land, and in this piece of land in this time this is possible. For me, I almost think location first. It's time first - what year is it - then where are we, and then who is in it.

If you ask him: "What is silence?" he will answer, "It is the Great Mystery! The holy silence is His voice!" If you ask: "What are the fruits of silence?" he will say: "They are self-control, true courage or endurance, patience, dignity, and reverence. Silence is the cornerstone of character.

If you can control your behavior when everything around you is out of control, you can model for your children a valuable lesson in patience and understanding... and snatch an opportunity to shape character.

If you become very self-conscious about what you are doing, you kill. You kill the character. Then it doesn't work. You have to come from a sincere place. And you don't think too much. I don't go to the hotel and I start thinking what am I going to say tomorrow and start writing things down.

If you can jump up onstage and make people laugh, shouldn't you also be able to inhabit a character?

If you can get an audience to identify themselves with a character, they will subconsciously feel that their own lives are in danger. People tend to pay attention in situations like that. I think fear is the easiest, and most visceral, emotion to activate in an audience.

If you can make a character likable that's not very nice, that's the challenge of the job.

If you can't be committed to another person, at least be committed to the concept of character and don't cheat.

If you can tell stories, create characters, devise incidents, and have sincerity and passion, it doesn't matter a damn how you write.

If you can write a character who is attractive but morally reprehensible, then you've got a character. It's got to feel like people I know and it doesn't just become a bag of tricks.

If you change a character too much, the audience falls out of love with the character, but characters need to evolve and grow over the years.

If you cant laugh at your own characters, or shed a tear for them, or even get angry at one of them, no one else will either.

If you care about [the characters] as if they were real, that always helps.

If you cared enough about your characters, what happened to them was interesting... it's important to care about them, about who they are and what they do...I don't really care whose side they are on, and they can be monstrous on the outside or, worse, on the inside, but you still have to want to spend time with them.

If you connect emotionally with the plight of those characters, ou feel what they feel and you walk away with a sense of understanding and empathy, and hopefully, something has been illuminated for you. And I tink that's what happendd for a lot of readers with my novels.

If you compare my character to the others, they were sexy with designer clothes. I had the nerdy outfit.

If you directly try to write about an idea, it will never be what you imagined. But if you're imagining through the building of sentences, through the characters, and paying attention to avoid ease and comfort yet still thinking about making the sentences work, you will get a shot at some real interesting stuff.

If you create a character, you create a destiny.

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.

If you'd asked me then if I saw how big "The Steve Harvey Morning Show" was going to be, I couldn't tell you. But I knew I could reach people not as a character but as Steve Harvey, because although I tell jokes for a living, I've also lived, and I think I can relate to you more than you know.

If you'd like to meet some fully realized characters while learning some specifics of Zimbabwe's postcolonial struggles, as I did, you're likely to come away with a vague feeling of dissatisfaction. If you're willing to settle for first-rate writing and provocative meditations on memory, corruption and loss, they are all here in abundance.

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.

If you do not know the laws of right conduct, you cannot form your character.

If you don't drink coffee, I am suspicious of your character and will not invite you to my Italian lake home.

If you don't behave as you believe, you will end by believing as you behave.

If you don't have obsessions, don't write. my characters are obsessed.

If you don't invest in the characters, you don't care if they get killed. It's more fun if you know them.

If you don't have enemies, you don't have character.

If you feel an aversion to a person--that is, an unexplainable feeling of dislike or distaste for him--it is the most dangerous time for a proper opinion of him, his character, or his actions. Any judgment you pass upon him at such a time is bound to be unfair.

If you get into the area of judging the character you're playing you're getting into a sticky area.

If you get on a TV show that's successful, odds are that you're playing the same character for as many years as the show is running, which can be its own blessing, but it can also be a curse because you're playing the same thing and that can be tiresome.

If you give a character room to breathe, they come alive.

If you find yourself concentrating on the technology rather than the sociology, you're like the vaudeville character who loses his keys on a dark street and looks for them on the adjacent street because, as he explains, "The light is better there.

If you get a book which is 600 pages, you have to reduce it to a script of 100 pages. In two hours of film, you cannot possibly include all the characters.

If you get a show named after you, and then play another character, that's fine. But if you do a show that's an ensemble show like... MASH, then you're in trouble.

If you get the characters right you've done sometimes nearly half the work. I sometimes find I get the characters right then the characters will often help me write the book - not what they look like that's not very important - what people look like is not about their character. You have to describe the shape they leave in the world, how they react to things, what effect they have on people and you do that by telling their story.

If you focus on the humanity of your stories, your characters, then the horror will be stronger, scarier. Without the humanity, the horror becomes nothing more than a tawdry parlor trick. All flash and no magic, and worst of all, no heart.

If you get the landscape right, the characters will step out of it, and they'll be in the right place.

If you handed [character] a glass that was 90% full, he'd tell you that the 10% empty part proved that no one really cared about water.

If you have a billion Muslims, 900 million of them were not brought into Islam by any kind of invasion, but most of them through the Sufis, because human beings are such that they are affected by people of spiritual character. Certainly when they display nobility and hospitality and gentility and love and are not selfish or aggressive, and they are honest.

If you got a good imagination, a lot of confidence and you kind of know what you are saying, then you might be able to do it. I know a lot of colorful characters at home that would make great actors.

If you had a man when I was your friend and then we started hooking up and you broke up with your boyfriend, so now we're together and you have a new male friend? I'm going to look at you sideways because your character's horrible and now I'm thinking you're going to do to me what you did to your ex.

If you have a character stand up and put on her shoes and open the door, in order to do that, you're imagining her shoes and her clothes and her house and her door. The character becomes more real. But once you've done that, you can probably just get it all across with a couple of details.

If you have a character that seems to be all perfect, it's hard to relate to him because when you read a story you really want to empathize with the character that you are reading about. And it's hard to empathize with someone who is flawless and who has no problems.