Best 14098 quotes in «character quotes» category

You cant just trust to luck; you have to really listen to what that character is telling you.

You can't just have a fight scene. In my opinion, it has to be a character moment or story moment.

You can't just pretend that the things you watch, and the things you hear, and the places you go will not have an impact on your character. They will.

You can't plan your character arc - you have a vague idea, maybe, but I'm constantly surprised. Sometimes actors in films will play the ending of the movie, or even the middle, and you know where it's going - as an audience member you can read the actor.

You can't run a government solely on a business basis...Government should be human. It should have a heart.

You can't really judge characters, because that's when it gets really hard to play them.

You can't really write until the characters kind of show up one day and tell you what they're going to say. You start to hear the rhythm of the way the people talk, and then it becomes easier.

You can't say the public likes generic characters. Give others a chance, go for a more rooted and honest characterisation, take some risk, and then let the public choose.

You can't take a character anywhere they don't expect the character to go. But within those confines is where creativity lies

You can't take yourself too seriously. Like, yeah, I'm doin' all that, but still I don't feel like I've done anything, really. I feel blessed 'cause I'm doin' all these things, but I'm not satisfied. I still have that feeling like, "Who am I? Who am I to have an ego? Who am I to change up and act like some Hollywood character?" Technically, in the grand scheme of things, I haven't done anything.

You can't truthfully explain your smallest action without fully revealing your character.

You can't tell an audience to like a character. And I think the best way to get the audience on someone's side is to embarrass them.

You can't think about how people will perceive you or your character. All you can do is focus on your work. The rest is up to the universe... I've been acting for 16 years. I've done 55 movies and, in all seriousness, there's maybe five that are good and the rest are crap.

You can't throw a rock without a comic book character falling out of a tree.

You can't write good characters if you can't imagine what it's like being in another person's skin. And if you can imagine that, you naturally want other people's lives to be better. You want to make that happen.

You carve out the organization's character through your daily choices. You shape its conscience as you exercise your own.

You choose your friends by their character and your socks by their color.

You come before me this morning with clean hands and clean collars. I want you to have clean tongues, clean manners, clean morals and clean characters.

You could imagine writing about a prostitute, for instance, but if you haven't spent time with prostitutes then you're going to get all these details wrong. But if you have a lot of sex with prostitutes and you're friends with prostitutes and you interview prostitutes, then maybe after many, many years you might be able to create prostitute characters.

You definitely do not do films for that particular reason. You do them for yourself, for your satisfaction of creating this thing with characters and watching these characters take on real life - that's all you care about.

You couldn't hope to make a drama and have people rewriting on the day and having the actors making suggestions, "Wouldn't it be funny if my character did this?" "No. You're the actor. I'll tell you what to do.

You'd be naive if you think you are going to retain any control once you option a character to TV.

You could only draw conclusions about my personal sexual politics if you proceed from the assumption that I was presenting the characters as the way it is and the way it ought to be. But both are clearly defined as deranged – it’s love among the mad. He’s a psycopath, so is she. She’s prepared to throw him to the dogs until he works out the code, he’s prepared to let her nearly get executed. They’re not really going to buy a house and a Volvo together. I’m not saying this is how people should date!

You couple that with how I looked when I was younger, and growing up... The voice is not quite breaking. It's awful. No, I don't enjoy that at all. But that's one of the things people love and find so endearing about the Harry Potter series, and why they've lasted so long. Because people have grown up with us, and they care about the characters. They're not just some characters in the film, they're people you can relate to, and you care about, and you grew up with, and when they die in this film, people feel it!

You definitely care about your character because you wear it and you're associated to it by all means and I love the change and spontaneity. At the same time, you know, acting is a profession and you realize that this character is not necessarily your property.

You could say I'm a character actress. Or maybe a character actress who does peculiar, interesting lead roles. Does that make sense?

You don't do background music the way a lot of more conventional films do. The music is often kind of a character in your films to the extent that sometimes you stop and watch someone perform a song.

You do a movie, depending on the character, there's some degree of makeup involved, especially when you're playing a vampire and you're all white and kind of dead. Sleeves, regarding costumes, there are generally sleeves, which I appreciate. I think we all do.

You do not characterize by telling the reader about the character. You do it by showing the character thinking, speaking and acting in a characteristic way. You simply show it and shut up.

You don't buy evil characters lattes. That's not normal behavior.

You don't get roles like leading character in 'Christine' very often because people don't really like women on film to be unlikable. I think Christine is lovable, but I don't think she's likable. I think there's a fundamental difference. For me, those are the richest ones. Men have had a career of doing those kind of things.

You do not settle whether an argument is justified by merely showing that it is of some use. The distinction is not between useful and useless experiments but between barbarous and civilized behaviour. Vivisection is a social evil because if it advances human knowledge, it does so at the expense of human character.

You don't encounter anyone who is not hero or villain of their own story. If it's man vs. self, you have to explore the ways each character is villainous and heroic.

You don’t have the slightest idea of what it means to write a scene and a character in the English language, with images and words chock full of received meaning.

You don't have to kill somebody to play a murderer. You have to read the script and interpret the character.

You don't get character because you're successful; you build character because of the hardships you face.

You don't get the pay-off when you're playing a quiet character, so sometimes you want to just throw out all your work and say, "Okay, let me do something really funny or gimmicky, just so that I can get some attention in this scene.

You don't have ideas when you're sitting in that sort of sterile little place, and you're not around people. The most boring scenes are the scenes where a character is alone. I just need that dynamic of other people around me to get my work done.

You don't have to underestimate your audience anymore. They'd actually like to laugh a little bit. So, the character came to me and once it's got its grips in you, there's nowhere to go.

You don't often get a chance to record with the other actors who are playing the characters, mainly due to the fact that you don't have to, the actors' schedules are all over the place, and it's difficult to get everyone in the same room.

You don't really have to do the things that your character is doing. But us actors, we use something called sense memory. I've certainly been drunk before, and part of my job is to recall that without getting drunk.

You don't know me. Don't ever think you know me. The only things you know about me are the things you made me do, and that illustrates your character, not mine.

You don't make your character in a crisis, you exhibit it.

You don't need a dead father to explain a character's sadness. And impressing yourself with wit/cleverness often feels like what it is - authorial intrusion.

You do understand that you can't force the situation, but in terms of how you edit, you can define that to take the audience along, whether it be a storyline or a character moment that we can play out. The more experience you've had, the more beneficial it is, period.

You do your due diligence, you read as much as you can, and then, ultimately, I find that you discard that and you concentrate on the characters [of 'Antropoid'] and you can draw on [the research] if you wish, but I think ultimately it's about bringing as much truth and honesty to the portrayal as possible.

You draw the character from all angles - side, profile, back, etc. so the animator has this character in all the ways it looks like.

You don't want to burn any bridges, but you also want to make sure you leave your character bridges wide open and you're never seen as one particular thing, or that's who you'll be, unfortunately, for the rest of your career.

You don't try any less hard on the ones that don't. I've gotten lucky to work with some amazingly talented people that have helped the ones that have worked work. I think you just have to keep doing the stories you love and the characters that you love and are drawn to.

You don't want to shock them and do something totally opposite, but you also want to play a different character.