Best 14098 quotes in «character quotes» category

If everyone's happy, then I'm the character where when I enter that means there's trouble. In a movie, when I enter, it's not a good thing. But I know where I'm at. But, you know, you don't have to call me by my character's name for months on end. Football taught me that, because you can go from being best friends to having to play that person on another team, you have to be able to turn that on and off. You need to find that middle ground.

I felt violated after certain scenes in the movie [Stone]. She [Lucetta] is a tough character. The choices she makes, especially her sexual choices... it was hard for me to put myself out there like that.

If everything is smooth sailing right from the beginning, we cannot become people of substance and character. By surmounting paining setbacks and obstacles, we can create a brilliant history of triumph that will shine forever. That is what makes life so exciting and enjoyable. In any field of endeavour, those who overcome hardships and grow as human beings are advancing towards success and victory in life.

If God brings our pets back to life, it wouldn't surprise me. It would be just like Him. It would be totally in keeping with His generous character... Exorbitant. Excessive. Extravagant in grace after grace. Of all the dazzling discoveries and ecstatic pleasures heaven will hold for us, the potential of seeing Scrappy would be pure whimsy-utterly, joyfully, surprisingly superfluous... Heaven is going to be a place that will refract and reflect in as many ways as possible the goodness and joy of our great God, who delights in lavishing love on His children.

If God is an author and the universe is the biggest novel ever written, I may feel as if I'm the lead character in the story, but like every man and woman on Earth, I am a suporting player in one of billions of subplots. You know what happens to supporting players. Too often they are killed off in chapter 3, or in chapter 10, or in chapter 35. A supporting player always has to be looking over his shoulder.

If honor be your clothing, the suit will last a lifetime; but if clothing be your honor, it will soon be worn threadbare.

If her eyes had no expression, it was probably because they had nothing to express. If she had few wrinkles, it was because her mind had never traced its name or any other inscription on her face.

If Hillary Clinton would have left Bill, that would have ended his presidency, not via impeachment but that would have elevated his total lack of character. It would have been the discussion. It would have been the topic point. She shielded all that. There would have been no vast right-wing conspiracy theme that the media did pick up to blame for all that. There wouldn't have been any Hillary and Bill foundation. There wouldn't have been all this fundraising. If she hadn't, she wouldn't have been picked for Obama's whatever if she had run and lost, if everything else had happened.

If humankind would accept and acknowledge this responsibility and become creatively engaged in the process of evolution, consciously as well as unconsciously, a new reality would emerge, and a new age could be born.

If I am to be a thoroughfare, I prefer that it be of the mountain brooks, the Parnassian streams, and not the town sewers. There is inspiration, that gossip which comes to the ear of the attentive mind from the courts of heaven. There is the profane and stale revelation of the barroom and the police court. The same ear is fitted to receive both communications. Only the character of the hearer determines to which it shall be open, and to which closed.

If I could play any character from the book though it’d be Church. Who wouldn’t want to be a cat?!

If I could play any role in any musical, it would be Desiree in A Little Night Music - Oh my, it is perfection. The character gets to be funny, beautiful, sexy and smart all at the same time and have two men fighting over her. The show is Stephen Sondheim at his absolute best... need I say more?

If I don't have a project going, I sit down and begin to write something - a character sketch, a monologue, a description of some sight, or even just a list of ideas.

If I find great material, or a great character, or a great director that wants to do something on TV, or whether it's in film, or whatever it is, man - as long as it's good, and on the level, I'm open to it.

If I'd made it right away as an actor, I would've stopped at a certain level and stayed there, probably as a character actor.

If I find the right character, I don't care if it's a film, a television show or a play, I'm gonna do it. Everybody crosses over and it's just one big pool of stuff now.

If I get blocked, it is generally because I don't know enough about some aspect of the story or the characters. The answer for this is generally more research, or making more background notes, so the place and person can be more fully realized inside my own mind.

If I had been born with an aggressive character, then maybe my palmares would have been longer.

If I have no connection with the character, then it's all fake - it's just blah, blah, blah.

If I had to fall in love with all the actresses I play with and live the situations I have to play, I would be lost ! I need to be solid and know who I really am to have fun in making something else. I noticed, while talking with other actors, that they often let ambiguity float. I don't like ambiguity, it's dangerous. I need distance. I also think that the result would prevent the audience from identifying to the characters. If you feel the things too strongly, you simply close the doors.

If I had to choose criteria, for me, it's about first the director. I want to be a part of something that's good and intellectually challenging. After the director it's the character and the story. That's the deal for me.

If I have learned one thing in my 54 years, it is that it is very good for the character to engage in sports which put your life in danger from time to time. It breeds a saneness in dealing with day to day trivialities which probably cannot be got in any other way, and a habit of quick decisions.

If I have a goal, then it is to escape from this literalism. I'll never achieve it; in the same way that I'll never manage to describe what really dwells within my character, although I keep on trying.

If I have to made a Daredevil movie, I will take a completely different direction. My vision of the character is much more a drama. There will be a 1st part in the child hood of Matt Murdock and the universe of Hell kitchen. Something in the universe of the first Rocky Balboa.

If I love the character, then thats all that matters to me. It doesnt really matter what genre it is.

If I'm doing a talk show or an interview, or pretty much anything where I can't control the context, I'm loath to do the character.

If I keep my good character, I shall be rich enough.

If I like the story and it's well written, and it's a character I want to play and they'll pay me, then I decide to do it.

I filmed 'Albatross' before I got 'Downton.' It's a coming-of-age movie about this girl who leaps into this family's life, like a whirlwind. She's ballsy and brash and wonderful, it was such an amazing character to play.

If I'm doing my job as an actor, the audience knows everything I know about the character.

If I'm doing my job right, then I'm not writing the dialogue; the characters are saying the dialogue, and I'm just jotting it down.

If I like it, if I think the character is going to be fun, if I think the story is good and if it appeals to me, then I want to do it.

If I love the character and if I love the story, and the character requires me to be shirtless, or if it requires me to lose 30 pounds, I'm ready to do it.

If I'm intimidated, I shouldn't be directing a movie. I gotta treat 'em as characters, not as stars. It's hard to not treat Marlon Brando as a legend, a star, it's difficult not to treat Robert De Niro as a star, but that had to go away very fast after I knew them, because I had to work with them. I'm the director, I'm the boss. They're looking to me for guidance.

If I'm not clear with the character, I can't do anything with it. But once I get that character, the possibilities are endless. When you have such a defined character, I feel like I can actually read the phone book and make it funny.

If I'm playing a fat person, then I actually eat a lot of cakes and as much as I can. If I'm playing a person in shape, then I'll increase my intensity of boxing training. It's really dependent. It kind of allows me to take whatever specific character I want.

If I'm playing someone who's smart, suddenly every character I've played is smart. If I'm playing a bad guy, every character is a bad guy. I suppose it's that thing where people want to see a through-line to understand you. I mean, you know, I have played pretty ordinary people too.

If I'm on set and I'm in character, I'm not thinking like a producer. If I'm on set and I'm not in character, wardrobe and make-up, and I'm just coming on set for the moments that I'm not shooting, then I'm able to be the producer.

I find all of my performances come down to mathematics in a sense - how do you approach the problem of this character? Sometimes I crack that problem, sometimes I don't.

If I'm not like my characters, I think just it's like a musician liking to play certain pieces of music rather than others. I just have more satisfaction when playing complicated things rather than some of your more straightforward, simple moments. . . . I like to be challenged.

If I'm really considering doing film from now on then that is the smart thing to do, or you can go either way. You can just do the same character over and over again and make a different comedy like over and over again.

I find Billy Eichner to be hilarious, though I also imagine that for many, a little goes a long way. Billy provides a kind of comedy the Parks and Recreations show did not have - an insane person screaming at everyone, and our job going forward, as it is with all of our characters, is to develop him and make him more three dimensional.

I find interesting characters or lessons that resonate with people and sometimes I write about them in the sports pages, sometimes I write them in a column, sometimes in a novel, sometimes a play or sometimes in nonfiction. But at the core I always say to myself, 'Is there a story here? Is this something people want to read?'

I find as a viewer, when I go to see comedies, the strain to be funny throughout the whole thing. I start to lose my sense of reality, and it ends up feeling like an empty experience; there's funny stuff in it but I've lost the emotional connection to the characters because it's just so bananas.

I find it's bizarre that science fiction is the one branch of television to push the idea of strong female characters. And I only call it bizarre because strong women aren't fiction.

I find it really difficult to even articulate things that I've done in the past. I express myself through the characters that I play, not through the articulation of them later.

I find it inspiring and I always think when I'm working on something new, whether it's a new kind of character or a new kind of story or new kind of camera, it gets my creative wheels spinning.

I find that at almost every press junket I get that comment, "this character's different from what you generally play..." And that's OK! But I think "generally play" stems back to Mr Darcy. I'm fine with it but I tend to find that if it's a departure, which in other people's words it always is, it's always a departure from that.

I find it very difficult to be two different characters at the same time - actress and mother.

I find it very hard to sit down and create an idea or especially a new character on command. Usually my characters evolve by accident out of some story context.