Best 14098 quotes in «character quotes» category

I'm still watching all those old-timers really going along, and I'm enjoying it so much, not just looking at the pictures, but looking at the acting. Paul Muni. Beautiful character. Edward G. Robinson. Jimmy Cagney. All those old boys. You don't find those characters anymore.

I'm such a believer in going to set, even when you're not work because I think the best things to be learned, you don't necessarily get from your own scene or from someone speaking to you and telling you advice. I think it's all about watching and just taking it all in. It's not even when the cameras are rolling, necessarily. You can see how they interact with the rest of the crew, and how they deal with being a character and then being themselves.

I'm such a huge fan of television and what's happening in television, right now. You are able to visit characters and visit a story, week to week, push things in a different way than you can in a film, and you are able to go deeper, simply because you have more time. I'm just excited to do that. It's always good to do new things.

I'm straight, but the character was too important to me to muddle his world with my private life. As a nobody, I got away with that deflection. I think it may have helped to introduce Brian as a believable gay man. Maybe not. However it played, it's been out of my hands for a long time.

I'm such a fan of anime and manga to this day, but I never really like got to know all the characters and everything, so I don't think I'd be able to pick one.

I'm sure you find it fascinating. It's always interesting for everybody to look at people who've been pushed to the brink. You wonder how you would fare with that. Nobody's interested in somebody who doesn't ever really do anything. I don't have a choice in that. I will always go for those kinds of characters. Each one is a separate choice for me, but I think it's fairly natural to find yourself gravitating towards people who have done extraordinary things.

I'm the character actor in Hollywood movies, the girl who has to be annoying so the guy can go to the other girl.

I'm surrounded by a lot of live-action movie professionals, and I'm just taking their lead, as far as what to schedule to do next. I'm guessing the challenge is going to be not having two characters together, and shooting the live-action without having the animation. In animation, you get to get in between every frame and you work it all out together.

I'm thinking like the character in order to be as authentic as I can. But after a while, how would I be able to cleanse myself from this unless I do something that's a different medium but also creative. That's what I do. It's my little ritual. After every filming, I just write a poem about it and my character specifically and I can let her go.

I'm the guy who plays human beings. I understand why the characters are doing what they're doing. When you play a villain, you don't play a villain: you play a human being doing what he thinks he needs to do to get what he wants.

I'm there [on Moana] with the other actors, so you play off one another. It's not just your idea of what the character is and what the world is like it would be in an animated [film], where it all sort of exists in your head. It's all right there, and if Diego's performance is doing what it's doing, it affects yours.

I'm thrilled that Alice Medrich, one of America's premier bakers, has embraced teff, buckwheat, oat, and rice flours. She understands that these flours are far more than substitutes for wheat flour. These flavor flours are stars on their own, full of character. Her recipes are sure to entice you to move into the kitchen and start baking.

I'm the only person I know that's lost a quarter of a billion dollars in one year. It's very character-building.

I'm the opposite of someone like David Grossman, who knows how his characters walk, and how they smell. I don't allow myself to imagine what mine look like at all. My sense of them comes from the inside. They remain, by necessity, physically vague in my mind.

I'm thrilled that Wonder Woman and that character endures because every actor wants a role that has some positive affect and causes people to smile or have good memories and to endure. It doesn't just go away, fade away. It's been 25 years that it's been off the air and so it still surprises me when younger people recognize me or know my work.

I'm tired of defending my character. I am what I am. What you see is what you get.

I'm trying to learn to smoke, which is rather weird when everyone is trying to stop. I'm not a smoker. But my character only smokes as an affectation.

I'm totally comfortable today with the success that Omar and 'The Wire' have brought me - living with that character, being recognized and remembered for that character.

I'm truly grateful to the writers of Fringe for giving me that because, over the years, when I've spoken about the character with them, I've always felt that this would be the perfect way to end and complete his journey, and to complete the journey of this series, and they gave it to me.

I'm told my SF is of the hard variety and my Fantasy is romantic but hopefully all the characters are strong and the plots are lively.

I'm trying to listen to my past, listen to what's most deeply going on inside myself, my creative set of fictional characters, a fictional world - to listen to that world, to search.

I'm trying to figure myself out through my movies. Whether it's big stuff like what we're doing here, or little stuff like why aren't I happier? With every film I feel like I'm apologising for something. I feel I'm most successful when I'm looking for something that embarrasses me about my character that I'd like to expose.

I'm trying to find a character that's my age and I can sustain week after week. I'd like to do a series.

I'm told there's a saying from those ancient times, kalos kai agathos, when someone or something is good and beautiful on the outside, but is also good and noble on the inside in terms of character and in terms of purpose. And I think that's a fine description of the friendship that exists between the Greek people and the American people.

I much prefer following a lead character that is doing morally questionable things. How much do you get on board? Do like that? Do you hate it? Does it matter?

I'm trying to show I'm a trained actress - I can transform myself into different characters. I'm not just an ingenue.

I much prefer to watch actors and writers create "humanizing" moments for characters. In a drama, "humanizing" is far more impactful and powerful than "redeeming.

I'm unhappy with the President Trump. I don't like his behavior, and I'm a Republican, and I don't like his policies because they're almost the antithesis of the American character of generosity, of charity, of welcoming, of helping, of taking risks. You think of the lives that were expended in World War I and World War II to help others, and they say now we'll draw up the bridge and we'll protect ourselves. We won't have a broader role in humanity.

I must admit that I do have a particular soft spot for the character of the chameleon-trickster goddess Ris in Dreams of the Compass Rose. Ris has gone through the whole spectrum of personal change and has had the longest road of all. And in the end she chooses to come back to the world, to guide, and to help, and to open the eyes of those who are suffering. In that is her true strength and humorous wisdom. I really do like her a whole lot.

I'm trying to use the camera to get into people's heads. I use camera techniques a lot to articulate character.

I'm UCB trained - I came up learning about game, which is a really big part of the Upright Citizens Brigade theater. They teach you about game, and game in a scene is what makes the scene funny. And oftentimes, it's the character - this is really improv dorky stuff.

I much prefer playing the bad guys. I think they are always the most interesting characters. I liken it to painting: if you're playing the good guy, you get three colors: red, white and blue. But if you're the bad guy, you get the whole palette.

I'm usually a panster and throw ideas down on computer the second they hit my brain. I even had to get off the treadmill to write down my ideas. It's a great place to 'zone out' and think about my plots and characters.

I must say Steven Spielberg was great to me, and I loved working with him. He called me up on the phone and was like, "I want you to be in this movie - 1941. There are a couple of parts. You can take whichever one you want. One of them is a main character who is involved in everything, and there's another character who has his own storyline and goes off on his own. He's probably the funnier, more unique character." I said, "Well let me do that second one.

I'm usually working on my own mythology, my own realm of created characters. Stories in mythology inspire me, though I may not be conscious of it.

I'm very attracted to characters who don't necessarily make it easy to be loved.

I'm very comfortable writing in the first person; it dives into the character in a way that's difficult if you're writing in the third person.

I must point out - Sarah Jessica Parker is not a diva - she's one of these pop culture characters that everybody likes.

I must say...that more unmanly, brutal treatment of a little pony it was never my painful lot to witness; and by giving way to such passion, you injure your own character as much, nay more, than you injure your horse, and remember, we shall all have to be judged according to our works, whether they be towards man or towards beast.

I'm very excited to see where the characters and their relationships go. But in the end, it really boils down to the people who have more power than me, who control the money.

I'm very interested in compassion - compassion for oneself and others. I write about very complicated characters and experiences and try to do it without judging the character or the action.

I'm very interested in starting to produce, and direct, and have an umbrella over an entire project in the future. I'd like to have control over what the characters do. I think as an actor, you get a little too caught up in the moment-to-moment, beat-to-beat stuff to have perspective.

I'm very interested in buildings that adapt to changes in climatic conditions according to the seasons, buildings capable of responding to our physical and psychological needs in the way that clothing does. We don't turn on the air-conditioning as we walk through the streets in high summer. Instead, we change the character of the clothing by which we are protected. Layering and changeability: this is the key.

I'm very much into the costuming of any character that I portray and it's one of the great things about making movies is it's a collaborative art form so you get all these artists who are looking specifically about for this instance your character's costume and what that might tell about your character.

I'm very interested in people, so if a character happens to be real, there's that much more to look at.

I'm way past the idea of using ideology or political view as a gauge of human character. I simply don't believe it. And many people, I tend to think most people, feel that way. Since I don't have to worry about it, I'm happy.

I'm very sassy. I want to show people in my album I'm not like my characters on TV.

I'm viewed as this weird, crippled character. But you got to take your lumps.

I'm with Milton and the Rolling Stones: I don't find the Devil an unsympathetic character. But in any case, my fiction is populated as much by people who do good as it is by those who do bad. I'm interested in imaginatively accommodating as much of the human as possible, for which you need both moral extremes and everything in between.

I'm very, very attracted to morally ambiguous characters, not just pure bad guys or pure good guys.