Best 14098 quotes in «character quotes» category

I think that'll always be there for [Clint] Barton, right? You have real life, and then you have fight life. And that's the character that I love now - discovering that in him makes him a very sort of accessible Avenger. That'll always be there, I'm sure. And it certainly plays in this one.

I think that I write much more naturally about characters in solitude than characters interacting with others. My natural inclination - and one that I've learned to push against - is to give primacy to a character's interior world. Over the three books that I've written, I've had to teach myself that not every feeling needs to be described and that often the most impactful writing more elegantly evokes those unnamed feelings through the way characters speak and behave.

I think that my fascination with clothes generally was motivated by trying to create the characters for the stage.

I think that ‘New Moon’ was my favorite book as well mainly because I like the juxtaposition of all sudden people being…it’s such a hyped character, Edward, and there are so many people looking at him like a romantic hero. In ‘New Moon’, the way that I read it anyway, he’s just so humbled. It’s a character who’s looking at Bella and thinking that he loves something too much but he can’t be around. He deliberately starts breaking up their relationship which I think is a very relatable thing and I think is very kind of painful.

I think that people are going to find more interest in the human condition, especially with them being weaned on so much reality television. They want character driven stuff along with real violence. Cage fighting is very popular with the kids right now. They see and know what one punch can do to someone's face. You can't give someone five hundred punches in a film anymore.

I think that's what I love about writing, is the ability to try to, in a sense, take a vacation from yourself and try to enter the sensibility of another time, another character, another place.

I think thats what I really liked about Narc: My character has a real operatic range in a way that older movies used to have.

I think that's what makes David Ayer really interesting. He likes to make a tough-y movie, but actually he's a character director. He's fascinated by the actual people who decide to have these jobs and the way it affects their lives.

I think that's why it's difficult for women when they watch TV and we see one version of a woman who is attached at the hip to a guy, and that's kind of her whole thing. You kind of go, 'I don't relate to this, I don't feel this.' You know? Maybe somebody does, but not everyone. That's the other thing about storytelling, is you can't represent everybody. You know, you can't seek to do that. You have to tell stories that you're interested in talking about and characters that intrigue you.

I think that Spider-Man is a part of our culture. He's a perennial character. He's something that's constantly reexamined and there are so many versions of him in the comics that it was something that I thought that we could do cinematically. He belongs on the big screen.

I think that's something that people feel that I do really well; I don't mind it, because ultimately I think the characters I play move people, and who wouldn't want to move people?

I think that's the big difference between this one [Ordinary World] and a lot of the other rock 'n' roll movies. They're playing to tape, but Fred Armisen and I were actually in a rock 'n' roll bad together. I also really related to the character, especially when it came to the parenting part. I'm a pretty klutzy parent.

I think that television has become really, really interesting, in terms of character development. You can have 13 hours to develop a character, as opposed to 25 minutes in a movie. That excites me.

I think that television lately has been extremely dark and, in some ways, cynical but I also think that people who are writing those shows probably feel exactly as I do - that sometimes the darkness of a story can highlight the light in a story. There's a lot of cynical stuff but I think it may be even more in movies now where you see so many movies about cynical and corrupted characters. That's the state of many movies right now but movies, television, all of culture, there's always going to be a battle between the stories that are cynical and stories that are hopeful.

I think that's the fundamental thing - you can go anywhere you like as long as you're following a character that the audience likes and understands.

I think that's true of real life - we don't ever know anyone completely. Secrets are very important to creating a narrative work that's believable. The characters come into that world with secrets, as happens to all of us. As honest as we try to be in our relationships, we can never completely know someone. From a narrative perspective it's very important and pleasing - you want to have those secrets there. The secret is an essential part of the creation of the novel.

I think that the best characters are the ones who both manage to be attractive and repulsive at the same time.

I think that there is no doubt that every experience you have in your life, whether it's playing a character or something else, you bring that to the work.

I think that the best way to explain that is that my mother gave me all the color and character and flare and liveliness, and my father gave me all the sanity and nature and all the things that helped me be a more rounded human being.

I think that the character that I'm playing now is so fundamentally different than Ally that I haven't I haven't felt like I had to worry about it at all. But I definitely wanted to make a different choice.

I think that the episodes are like mini horror films really; the characters make bad decisions early on and these things just snowball for them and get worse and worse. And that's what I find funny.

I think that the most important thing for me is how is the character that I would be reading for? Is it interesting? Is there stuff to do? Are there things that you can do with the character? How can you play it out? Just those kinds of things that are very important for an actor.

I think that the joy of writing a novel is the self-exploratio n that emerges and also that wonderful feeling of playing God with the characters. When I sit down at my writing desk, time seems to vanish. ... I think the most important thing for a writer is to be locked in a study.

I think that the next album is specifically for sure from Cry Baby's perspective, but it's not necessarily about her family-life or her love-life, or anything like that, it's more about this place in this town. The place has different characters in there, so in every song there's gonna be different characters that appear.

I think that there are a lot of great studio people but the fewer voices in my head when I'm getting out a draft, the better. I just get it out and then I'll listen to all manner of good ideas. And that's what happens, too, when I'm touring and doing a character on stage.

I think that the entertainment industry and the entertainment press tends to focus on opening weekend box office as a measure of the success of a film and I think the true success is out there in people's homes and how much they absolutely love these characters.

I think that there's a natural attraction to enigmatic characters, people that have decided to make a decision in their lives to live differently than everyone else. That's a very attractive quality that also happens to be good for filmmaking, people that have their own point of view and aren't looking at things the same way as everyone else.

I think that there's something really special about doing a series. You get inside the skin of that character 'cause it's such a long time.

I think that those of us who are ordinary disappear easily into the backdrop of life and we take things for granted. We often wake up in our lives and wonder how we got there. But the characters I create, the people I am drawn to, are quite extraordinary (and not always in wholesome ways), and they offer us the chance to understand who we really are and how we became who we are.

I think that what I do is a form of pathetic fallacy, the literary trope in which nature is in sympathy with the mood of the story. I connect the physical setting and props in the story to the emotional state of the characters.

I think that what I learned then, I didn't know I was learning. I just knew that I was very privileged to see somebody who was a writer, a great poet, and very smart-faced. Suddenly Pasolini becomes a director, so he has to invent cinema. It was like watching the invention of cinema. But I found out that Pasolini taught me a lot. It was, especially, the kind of respect that he had for reality. He had kind of epiphanies in his movies, like when a moment becomes full of grace, and it is like as if it was the most important moment in the life of a character.

I think that you can fall into bad habits with comedy... It's a tightrope to stay true to the character, true to the irony, and allow the irony to happen.

I think the approach of the character for us is the same in a silent movie as in a talking movie because we had balance, we had lines to learn.

I think that you can sort of have your own personal journey and you know, you can just kind of apply that to whatever characters you're playing.

I think theater has given me the opportunity to show what a character actor I can be.

I think theatre is by far the most rewarding experience for an actor. You get 4 weeks to rehearse your character and then at 7:30 pm you start acting and nobody stops you, acting with your entire soul.

I think the actors take a great responsibility for the characters in the movie.

I think that when you look at the great politicians, the two greatest in my view were George Washington and Abraham Lincoln, they certainly had character traits. You also know Abraham Lincoln overcame severe depression problems that he had when he was younger, which gave him the strength and the character later on.

I think that when you're first shaping the play and trying to find a character, the initial actors that develop it end up imprinting on it - you hear their voices, you hear their rhythms. You can't help but to begin to write toward them during the rehearsal process.

I think the beauty of the writing of 'Game of Thrones' is not that the characters are fearless; it's how they overcome their fear, you know?

I think the business of writing a great deal of it is the business of paying attention to your characters, to the world they live in, to the story you have to tell, but just a kind of deep attention and out of that if you pay attention properly the story will tell you what it needs.

I think the characters are supposed to be an open book, blank canvas.

I think the best models are actors, you're taking on a character. In that sense, I have been acting for a long time. It didn't seem like a crazy transition. Acting is a bigger step into modelling in a way. Modelling is easier when you don't look like yourself. When you look like a different person, you feel different. Acting goes deeper into that, you have to move and talk like that character. I love it.

I think the best way to become a character is by osmosis as opposed to thinking directly about stuff. The more material that you have and understand and have a going in, then the more complex your character and the understanding of your character will be.

I think the best stories always end up being about the people rather than the event, which is to say character-driven.

I think the biggest lesson that I take from 'Avatar' on any set that I go to is just work ethic. Working with Jim Cameron, you're used to working very, very long days and you're very meticulous about details. He's very, very picky about little details, little character-isms and things.

I think the existence of zombies would contradict certain laws of nature in our world. It seems to be a law of nature, in our world, that when you get a brain of a certain character you get consciousness going along with it.

I think the female first-person is still dismissed, demonized, especially if the book does not end on an empowering note, especially if the main character is perceived as unlikeable, or too privileged.

I think the genre of comics sometimes overtakes the medium, and people assume that they are kind of frivolous. If you have a good, strong story teller, they can be as affecting as any character in literature. Period.

I think the equipment you use has a real, visible influence on the character of your photography. You're going to work differently, and make different kinds of pictures, if you have to set up a view camera on a tripod than if you're Lee Friedlander with handheld 35 mm rangefinder. But fundamentally, vision is not about which camera or how many megapixels you have, it's about what you find important. It's all about ideas.