Best 14098 quotes in «character quotes» category

I was born in Paris in the mid-1960s, and by the time I was 12 I had started going to the movies by myself. Most of the movies of that period never appealed to me. I didn't like the 'naturalism,' the sad or the 'down-to-earth' characters. What I wanted from film was fantasy, dreams, funny situations, extravagant decor - and beautiful women.

I was born with an adult head and a tiny body. Like a 'Peanuts' character.

I was brought up on the romance of American achievement. No matter where you start, if you work hard and if you think positively and if you dream dreams and if you have good character, you can lift the status of yourself, your family, your friends and everyone around you. This doesn't mean that your object in life is to become rich or famous. Just do the best you can with yourself. I think that Almighty God has put that into us and I'm going to do the best I can with myself. That's what I call the romance of achievement. Achievement means to be what, by the grace of God, you can be.

I was born to love - but none of you wanted to believe it, and that misunderstanding was crucial in forming my character. It's true that nature was strangely inconsistent in giving me a warm heart, but also a face that was like a stone mask and a tongue that was heavy and slow. She refused me what she bestowed freely on even the most loutish of my fellow men. . . . People judged my inner character by my outer covering, and like a sterile fruit, I withered under the rough husk I couldn't slough off.

I was born Joseph Lane, but when I applied to the actors union, they said they already had a Joe Lane on the books and I'd have to change my last or first name. I had played the character of Nathan Detroit, whom I liked very much, in 'Guys and Dolls,' so I took the name Nathan.

I was debating whether to do Legally Blonde, and I saw this interview with Gloria Steinem about how important Goldie Hawn's role in Private Benjamin was for women; by the end of the movie, the character socked her fiancé in the face at the altar because he didn't understand who she'd become through her journey. I was like, "I feel like Gloria Steinem told me to do Legally Blonde. That's how Elle Woods is too!

I was doing Hamlet in the off-season, and I had a specific idea in my mind about what I wanted that character to look like, and because it's going to lead into the next year, I knew that it was going to have to be established somewhere in the show.

I was curious. Here was a character where I just didn't know how they were going to write him into 13 episodes without it being one note. My fear was that I didn't want to join something where I was just going to be this prop and this mustache twirling character.

I was definitely a fan of Robert Patricks character in T2. I was just really awed by his performance and the complete body control that he had, so I think maybe subconsciously, that played in the back of my mind.

I was cut out of The Doors. I was Okie Girl, a groupie. The powers that be thought that my character made Jim Morrison look too sleazy, if you can imagine. I saw the movie-it was so loud I had a headache for three days.

I was fascinated by a compelling character embroiled in a controversial topic that told the story from a different point of view.

I was envious of [Vincent] Van Gogh because I could never make a painting that beautiful! (Ridiculous, I know.) That was when the character of Ivy [Wilkes] began to take shape for me.

I was exhilarated by the new realization that I could change the character of my life by changing my beliefs. I was instantly energized because I realized that there was a science-based path that would take me from my job as a perennial “victim” to my new position as “co-creator” of my destiny. (Prologue, xv)

I was generally pro-bat, except when I was trekking through the dark trying not to think about the dire fate of every horror movie character stupid enough to go into the dark with a flashlight and check the fuses.

I was given the ability to create stories and characters. That's my part of the long chain of writers, publishers, agents, booksellers, librarians, and a host of others who eventually deliver literature to the world. I want to do for others what Eudora Welty did for me.

I was half asleep but I smiled. In spite of all his irritating qualities, I couldn't help liking a man who despised a fictional character with such passion.

I was happy that I finally could play a mature woman, because I started working when I was a teenager and was always playing characters according to my age.

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 was introduced to Mr. Davy, who has rooms adjoining mine (in the Royal Institution); he is a very agreeable and intelligent young man, and we have interesting conversation in an evening; the principal failing in his character as a philosopher is that he does not smoke.

I was just the perfect person to play the Mini-Me character.

I was kind of scared at first to do that [vice-over] because when you're on set, a lot of the things going on around you - the environment and playing off other actors - and that's what makes it easier and helps you to be in your character. So, realizing you're not going to have that and you're going to be secluded in this booth, it's like, "How am I going to be a character when I'm just in these walls?

I was keenly aware that I didn't want to draw on too many typically doomed aspects of the fated singer. Whether it's Judy Garland or Norma Desmond, there is this tragic quality to older women that one can revel in, and you want it to be more three-dimensional than that. So it was important for the character to be strong and resilient, because there are so many victims in opera.

I was loosely aware that most of my characters were fundamentally selfish people, but I didn't intentionally make that a theme.

I was making films about American society, and it is true that I never felt at home there, except perhaps when my wife and I lived on a farm in the San Fernando Valley. But I always wanted my characters to be more than cyphers for the failings of their world. And I never had to look too hard to find a part of myself in them

I was miserable in West Side Story. They really miscast me. I came from the Midwest; what they really needed was a guy that was street smart. The first time I saw the movie, I had to walk out. I looked like the biggest fruit that ever walked on to film. My character was so weak.

I was molded, spent my time underneath a lot of goo. And then the bits and pieces were sculpted. It took probably 10 days to create each character after all those camera tests.

I was lucky I guess. My main job was done when I finally found Ben Whishaw and knew that there was someone who could portray a character who was so ambiguous and multi-faceted. Ben is equally dark and innocent; potentially violent and yet at the same time kind of a boy. He got all that across and still makes audiences root for the guy even though they might be kind of disturbed by that fact.

I was nervous when I first started True Blood because if you do a play or a movie, you know the complete arc of the character. You can see the end. But with a show like True Blood, you don't know what's going to happen.

I was never a leading man. I've always been in the outer concentric circles in the company, being a character actor, which is a good place to be. It gives you that diversity.

I was never an ingenue. I've always just been a character actor. When I was younger, it was a real problem, because I was never pretty enough. It was hard, not just for the lack of work, but because you have to face up to how people are looking at you.

I was never really a character actor - I was a leading man who was always cast as a character. I wanted to be Jack Nicholson or Jean Gabin.

I was never very good at math and science, to be honest, so it's fun to play a character that is so scientific and mathematical, and whose brain functions at such a high pace. The biggest difference is that Maura is very linear in her thinking and very logical. I'm not quite like that. I'm much more laid back and not quite so type A. That's the big difference.

I was not interested in doing the plot of Oedipus in blackface. I did wonder, what would these people have been like if they hadn't been in that situation?... One could look at Oedipus, or at my character Augustus, as a cynical schemer who did everything because he was hungry for power. But that's just too easy. I'm more interested in how humans can embody conflicting goals and emotions.

I was never unhappy with the shows. I didn't get into [the writing]. I had an area. My area was my character. My area was what they gave me to do.

I wasn't a great improviser when I started there; I'm not really up on current events. I would always just mug, just try to get my laughs from making faces. So I decided to do a character who should never have become a comic - somebody you would see at the Comedy Store and go, "This person is never going to make it.

I wasn't into fairytales when I was little. I was of the generation of the earlier Disney films where many of the female characters, with the exception of the Maleficent's, were not little girls that I admired... the little princesses. They weren't characters that I identified with. I think that's very different now for my girls and more recent films.

I wasn't trying to top Pulp Fiction with Jackie Brown. I wanted to go underneath it and make a more modest character study movie.

I wasnt a Star Trek fan, yet I knew who all the characters were. that goes to show what an impact the show had not just in entertainment but in life. I knew who Chekhov was and I knew who Kirk and Spock were, although I probably had never seen the show.

I wasn't that much of a Disney buff growing up, but I love the mystical and magical nature of Peter Pan, and I have connected with that character through Owen [Suskind] in making this film ["Life, Animated"].

I wasn't terribly aware of Catwoman. She was a DC comics character and as a kid, I wasn't terribly fond of the DC comics characters. I was a Marvel boy.

I was on Stargate: Atlantis for four years, playing a similar character called Ronon, who was an alien that didn't say much and grunted. I've been there and done that. Whether people have seen it or not, you want to stretch. And then, while I waited, I got The Red Road, and I'd never gotten anything like that.

I was playing this sort of asshole actor [in The Jenny McCarthy Show]. And we shot the pilot, and it was a guaranteed go. It was going to be 24 [episodes] on the air. No questions from NBC. And we shot the pilot, and I was in Toronto doing a movie, and I got a call saying they cut the character, that I was off the show.

I was once a fortunate man but at some point fortune abandoned me. But true good fortune is what you make for yourself. Good fortune: good character, good intentions, and good actions.

I was playing this horrible part. I didn't didn't want to play it because the character was an awful racist. But I'm glad I did it because I met Sidney Poitier.

I was powerless over my childhood but the coping strategies that I developed, to survive, all of which were creative and brilliant and got me through, as an adult those became my defects of character. Those became my shortcomings, control and all that kind of stuff... and that's my responsibility. I was a blameless child in what happened in the home; I take responsibility for my behaviors as an adult.

I was pretty confident that I'd be playing something, if James Gunn could convince Marvel Studios and Disney to cast me. He's involved with the casting too, but if he could convince them to go along with him and agree with getting me on the roster, then yeah, I would have voiced Groot. Not a problem. Groot is an awesome character.

I was raised in the theater and I started acting when I was nine. To me, the idea of being an actor was about playing different characters and being a chameleon. That's why I was in the theater.

I was pretty much consumed by this character. Even when I was off, I was continually searching to find something else new about [Idi] Amin, and to embed myself deeper into the culture to the point that, in the end, I was so entrenched that I could tell what tribe someone was from just by looking at them.

I was raised in New York City and raised in the New York City theater world. My father was a theater director and an acting teacher, and it was not uncommon for me to have long discussions about the method and what the various different processes were to finding a character and exploring character and realizing that character.

I was really attracted to doing Game of Thrones because I thought the character of Meera was absolutely amazing.