Best 14098 quotes in «character quotes» category

When you do nothing you feel overwhelmed and powerless. But when you get involved you feel the sense of hope and accomplishment that comes from knowing you are working to make things better.

When you close the book, does the story end? No! That's such a bland way to read. Every story goes on forever in our imaginations, and its characters live on.

When you did impressions on 'MADtv,' the producers gave you a Walkman that played huge sections of whatever movie was being parodied, with your character's catchphrases recorded on a loop. You'd wear this thing around during rehearsals and for a week listen to the voice you had to impersonate over and over again. It drove all of us crazy.

When you do a normal film, you play the character for three months and you say goodbye to him. And then, when you watch the movie, you say, "I wish I could have done that differently. I wish I could have added this to it.

When you do films that have multiple sequels, you develop a character for a film.

When you describe the miserable and unfortunate, and want to make the reader feel pity, try to be somewhat colder - that seems to give a kind of background to another's grief, against which it stands out more clearly. Whereas in your story the characters cry and you sigh. Yes, be more cold. ... The more objective you are, the stronger will be the impression you make.

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.

When you do a film, you start to get the character, and then it disappears for a year before it's released and you get feedback.

When you do a TV show, the cumulative intimacy you develop with the audience through your characters is pretty profound. It may be the most profound storytelling there is, because the character gets to live and roll around in the audience's mind week after week.

When you dream, all the scenery, characters, events, perils, and outcomes are built from your own consciousness, the darks and oppressions as well as the delights. Same with the world awake, though it takes you longer to build it.

When you encounter sophistication in the creation of a female character, you thank the writers and you claim it.

When you exercise your freedom to express yourself at the lowest level, you ultimately condemn yourself to live at that level.

When you do your comedy and your drama, your acting style doesn't change. If it's a comedy, the situations and the characters might be a little funnier, but you're just trying to be honest.

When you fight you are in a situation where failure can happen. This chance of failure forges your character in many ways.

When you do rap albums, you got to train yourself. You got to constantly be in character.

When you find theater writing like in the theater on film but it's realistic, it doesn't matter who the character is, you want to do it.

When you finish a film, if you believed in your character, you're empty.

When you first get out of doing a show for a long time where you played a teenager, casting directors and producers all still look at you as being the character that you played for so long.

When you get an idea, so many things come in that one moment. You could write the sound of that idea, or the sound of the room it's in. You could write the clothes the character is wearing, what they're saying, how they move, what they look like. Instead of making up, you're actually catching an idea, for a story, characters, place, and mood - all the stuff that comes.

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.

When you first start off, I know singers who have only been in the business just a short amount of time, and they've already written their autobiography. I didn't want to write it too soon. I wanted to live a while and write about things that I felt were important to me - growing up in Wales, and the characters that I met and listened to.

When you get an idea, so many things come in that one moment. You could write the sound of that idea, or the sound of the room it's in. You could write the clothes the character is wearing, what they're saying, how they move, what they look like. Instead of making up, you're actually catching an idea, for a story, characters, place, and mood - all the stuff that comes. When you put a sound to something and it's wrong, it's so obvious. When it's right, the whole is greater than the sum of the parts. That's a magical thing that can happen in cinema.

When you go for something because you're curious about it, you get psyched up about the chance of getting into it. It's like an actor meets a role, and you slip into that body and see what happens, to experience certain conditions, to adopt a certain character. Even shooting is a study of the character. I think both the character and the actor, and eventually the filmmaker - myself - are finding a way to accept their environment and being accepted and feel comfortable of themselves.

When you have an idea for a story, you want those characters to reach as many people as you can. I think you normally think of prose as a way of doing that. It fits our time, the culture.

When you have characters talking about music in any way, especially about music someone doesn't know, some people presume it's about showing social capital and sneering at those who don't have it.

When you graduate is when you start to find yourself looking at the information in the audition breakdown and it says tall black African - or African-American built such and such. And you start seeing these character descriptions and seeing that, oh, you're only going in for the ones that are described as your look.

When you have an audience, and you have people who want to see your character and want to see you, it's really amazing.

When you go to the movie theater and the opening of this movie and you see the kids just cracking up with a character you are giving your voice to, you get goose bumps. It's so beautiful.

When you have a character to work with, you carry them around in a strange way - they make you look at the world in a different way.

When you have a clear idea of what your character is trying to accomplish, it makes it a lot easier to riff on things.

When you have a show that's called Jessica Jones, if Jessica Jones isn't in a scene the rest of it become almost irrelevant until you earn other character storylines. You've got to flesh out those characters enough that you can travel.

When you have a lot of fake selves, most of the time it's because you haven't had parents around so you try to build characters to protect yourself.

When you have a set of characters, you have to fall in love with them and care about them as each individual character.

When you have love in a story, it gives you the freedom to really take the characters to very interesting places.

When you have decided what you believe, what you feel must be done, have the courage to stand alone and be counted

When you have discovered a stain in yourself, you eagerly seek for and gladly find stains in others.

When you have great acting partners, you hope that your reaction to them is propels you deeper into your own character.

When you have to play a character that seems to be a relatively decent person and seems to be like yourself, I think the trick in that kind of character, so that you don't become a cliche, is to find where their weaknesses are.

When you introduce a character and show him for the first time, don't show him fully lit. Don't show him one hundred percent to the audience. Show maybe fifty percent or sixty percent so the audience can fill in the dark spots.

When you have to get into the character each morning, give it your voice, your face, it was torture.

When you have satire, it has to be real. No matter how outrageous the comedy becomes, you have to believe in the characters.

When you look at a character and you're like, "Wow, that's really unexplored terrain for me and there's a lot happening here and different angles to him," and you're not sure what his motives are, you've got a good shot at working towards something interesting.

When you look at Steven Meisel's pictures and you see girls rolling around in mud or cars are blowing up? It takes a tremendous amount of courage to be able to do that. I think you have to be malleable, and that's what makes a truly great model. It's not the perfect lip or the perfect face, it's your own ability to take on a character and that's, I think, something there's a misconception about.

When you look at all of the male characters on television and in film, it's not like every one of them are the people doing the right thing that you can point to as your own moral compass.

When you know psychologically what [characters] are feeling, then that plays out on how you dress a lot of times.

When you look at "American Crime" and you have the character Terri LaCroix is a pharmaceutical executive - why does that character always have to be white?

When you look back at your own life, you see ... the sufferings you went through, each time you would have avoided it if you possibly could. And yet, when you look at the depth of your character now, isn't a part of that a product of those experiences? Weren't those experiences part of what created the depth of your inner being?This is quotes copyright © By Pumpkin Limited

When you love a problem, its contours, obstacles and resistances are all just part of its character.

When you only do 10 episodes for a final season, every character and all of her interactions in every storyline have so much more import because it's the last time we're going to do it. It's been really helpful saying, "OK, where do we want each of these characters to end?" We have 10 episodes to do it and working backward from that, I kind of envy my friends who have always been on a cable network because this is really that great benefit of doing it this way.

When you lose the story that's running like a golden stream underneath all the other stories, you're left with the idea that the Bible is a collection of random-seeming stories about various Bible characters that we're supposed to learn lessons from - almost like an Aesop's Fables. And a book of rules that God wants us to keep so he will love us. And we lose the glorious truth of the Bible that we were loved before even the beginning of time. That God had a plan. That no matter what, he would never stop loving us.