Best 14098 quotes in «character quotes» category

Sometimes I would like the opportunity to do character-driven comedy and that's really what I was trying to do in Meet The Parents. I think in a way this is a more old fashioned type of comedy.

sometimes knowing when to give up is the real test of character... -annabelle granger

Sometimes I will portray the more normal-looking people as the monsters and then the more distorted - "uniquely formed" is the word I like to use, rather than monstrous - as the sympathetic characters in the painting. It's interesting because some people will get it right away, but a common reaction is to be a little off-put by it. And that is the whole idea. If it grabs somebody in a negative way, that's my intention.

Sometimes I will read the whole script just to see what my character is doing, but I won't touch a script that I'm not in because it's just so much more exciting as a fan to me to watch the show as it's happening.

Sometimes I wonder if I'm a character being written, or if I'm writing myself.

Sometimes making a story is as easy as putting two characters in a room and seeing what happens. So, imagine a great white shark and a giant squid in the same bathroom.

Sometimes my interest in working on a film is not always dictated specifically by the character. Sometimes it's simply about wanting to be a part of a vision that I love, or a script that I love. I find exciting and gratifying.

Sometimes minor characters are based on people I know, on friends of mine. But I'm not writing a thinly veiled version of my own life.

Sometimes one has the feeling of an almost supernatural character to the shifts and changes in our national mood. They appear beyond the prose of cause and effect.

Sometimes the character of the mistress is inferred from the dress of her maids.

Sometimes the characters I find the most compelling are in independent movies. With independent scripts people can take more challenges.

Sometimes she wore Levi's with white-suede fringe sewn down the legs and a feathered Indian headdress, sometimes old fifties' taffeta dresses covered with poetry written in glitter, or dresses made of kids' sheets printed with pink piglets or Disney characters.

Sometimes small incidents, rather than glorious exploits, give us the best evidence of character. So, as portrait painters are more exact in doing the face, where the character is revealed, than the rest of the body, I must be allowed to give my more particular attention to the marks of the souls of men.

Sometimes suffering is just suffering,” she told Gus. “It doesn't make you stronger. It doesn't build character. It only hurts.

Sometimes the characters develop almost without your knowing it. You find them doing things you hadn't planned on, and then I have to go back to page 42 and fix things. I'm not recommending it as a way to write. It's very sloppy, but it works for me.

Sometimes the characters that I'm most resistant to are the ones that I find the most satisfying to play, because you have to dig deeper and you have to find different parts of yourself that are not necessarily the first thing you access and that's fun and interesting.

Sometimes the director will want you to write about the character, sometimes he'll want you to live in the location that the character is from or something like that, but I don't usually make a lot of notes or anything like that.

Sometimes there is more exploration in the character for a villain.

Sometimes, the smaller roles in movies can be the most interesting. If you only take the stance that you'll only play central characters in movies, you'll find yourself not being able to indulge in that morally grey terrain that makes support characters so rich and interesting.

Sometimes, when I have to do something I don't want to do, I pretend I'm a character from a book. It's easier to know what they would do.

Sometimes when you play a character, you can feel it in your body. And I felt like I had characteristics of my dog: the way Webster moves, the way he holds his head. I kind of adapted it into this part unconsciously

Sometimes when I get up after writing, I'm surprised at how my body feels. Suddenly I'm not a lanky, hungry young boy any more. It's no fun putting on ten years and fifty pounds all of a sudden. Other times, I get up and I'm pleasantly surprised that I'm not a weary innkeeper, hopeless, with bones that feel like they're made of lead. I really sink into the characters that I write.

Sometimes when a character in a novel is difficult for me to enter, I sue something in myself or in my own life as a doorway into that character's mind and emotions.

Sometimes when you have to go into something, unless you're gifted and can just turn it on and off like a jukebox, you find someplace where there's nothing going on to get yourself into whatever state your character is entering into.

Sometimes you even start to sound like the character, because you're living and breathing them every day on the set. It gets into your bones, it becomes a part of you.

Sometimes you have to make decisions that necessarily exclude the collective. It's more difficult to be a friend - even though they know each other and they treat each other like friends, it's more of a challenge for them. It's just institutional fact; the two characters that are the most aloof are the ones who have the most responsibility.

Sometimes you don't really understand the characters you do. I don't need to. Most of the behavior is obscure and I don't mind that. On the contrary, it's a fuel for me, to find out who the character is. As the spectator is finding out, I find out about the character myself.

Sometimes you have to get to the heart of a character through your heart. Your own heart. And it's what makes us similar and what makes us different.

Sometimes you have to go places with characters and emotions within yourself you don't want to do, but you have a duty to the story and as a storyteller to do it.

Sometimes you can do certain things on stage, or even in a TV series, and people see the look on your face and they know what you mean, so you can get away with certain things. But if you can't create that look on an animated character, which is essentially a puppet, the line will hit the audience in a very bad way.

Sometimes you can incubate a character and that can take me a month just sitting on it imagining it, doing everything from sketching it to taking long walks, but sometimes you can see the character immediately. A lot of it is instinctive.

Sometimes you have to search for inspiration with characters, and other times, they just drop out of the sky and arrive.

Sometimes you'll see interviews about an actor who was asked to hit the weight room to develop his body for the character, and you hear them complaining about the egg white omelettes they had to eat and the tortures of hitting the gym twice a day - I find that to be a bit saddening, it's all a part of becoming the character and as an actor, that is your job.

Sometimes your gift takes you to a place that your character is not prepared to handle.

Sometimes you need to put your own characteristics into the actor, and you take different things from the character that you admire - sometimes you can't see the boundaries anymore.

Some TV shows are like really good novels in that there are enough episodes that you start to have your own feelings about how the characters should act. When the scriptwriters go slightly wrong, when they make the character make a left turn that he or she wouldn't do, you know enough about the characters to say, "No, that's not what she would do there. That's wrong." You can actually argue with a TV show in a way that you can't do as much with movie - you inhabit a TV show in the way you inhabit a novel.

Sometimes your characters in films do things that you wouldn't do. You're not playing yourself all the time.

Somewhere in the back of my brain there exists this certainty: The body is no more than a costume, and can be changed at will. That the changing of bodies, like costumes, would make me into a different character, a character who might, finally, be alright.

Sometimes, you start with the drawing and then the gag comes to you in the middle of it. That is when you start working on the solution of the gag, which is composition, placing, equilibrium, and character design.

Sometimes you walk away from playing somebody and you think, "Wow that was far as from my own experience as I can possibly be." And sometimes you walk away thinking, "Wow. There are qualities in that character that I didn't realize I had." And those can be both interesting and uncomfortable.

So much of movie acting is in the lighting. And in loving your characters. I try to know them, and with that intimacy comes love. And now, I love Voldemort.

So much of my work is as Yara, not as a character. If you're attacking my work as a philanthropist or activist, you're attacking Yara. But because of "Black-ish" and this national audience we have, I get to have a larger or louder voice.

So, Mr. Chadband-of whom the persecutors say that it is no wonder he should go on for any length of time uttering such abominable nonsense, but that the wonder rather is that he should ever leave off, having once the audacity to begin-retires into private life until he invests a little capital of supper in the oil-trade.

Some writers, notably Anton Chekov, argue that all characters must be admirable, because once we've looked at anyone deeply enough and understood their motivation we must identify with them rather than judge them.

So much are our minds influenced by the accidents of our bodies, that every man is more the man of the day than a regular and consequential character.

So much does the moral health depend upon the moral atmosphere that is breathed, and so great is the influence daily exercised by parents over their children by living a life before their eyes, that perhaps the best system of parental instruction might be summed up in these two words: 'Improve thyself.'

So much emotion can be brought in an animated film that's very hard to get in a live-action film. I haven't quite put my finger on why, but it might be because the characters can make facial expression that, if you made them in a movie, they'd call them corny.

So much of the writing is not conscious, in the sense that it's not calculated. I remember in film school we had so many studies with big fancy words where you could dissect a movie and make charts of all of the characters' complicated inner relations and themes and what does this mean? And it's overwhelming as a student. It's great for a student, but as a writer, it's paralyzing.

Sons of Anarchy has the perfect combination of character and action.

Songs are like movies to me, and so you put yourself in the movie. You become a character in the movie. The new ones are exciting because they're fresh. But if it's not that, if the story is not what you get into, maybe it's the crowd response. You hit the first chords of 'She's In Love With The Boy' and 20,000 people start to scream, you're pretty motivated. You get what you need. And it's a great story. It works.