Best 14098 quotes in «character quotes» category

I never used to kill characters, because I thought killing characters was cheating.

I never thought I could write this much and now that it's coming to an end, I feel sad that I have to stop, sort of the way you feel at the end of a really good book and you know you're going to miss the main character. But in this case, the main character is me! Myself. Joe (formerly JoDan) Bunch. —Joe Bunch

I never wanted to accept that. And so I have always fought against that in some way, shape or form and had - I've had people who have supported trying to get me in for things that were beyond the character description.

I never wanted to be commissioned to paint portraits. I like to choose my own subject and make a character study from it.

I never want to write something until I know every scene in the movie. I don't want someone hiring me and then me not being able to write it. Which is always a fear. So I like to figure it out, know all the characters, and know almost every scene in the movie before I start writing.

I never would rule out a great character or a great story. I don't care what the forum is. If I get to tell a story that I'm excited about, I'm in.

I never want to be winking at the audience and saying, "This character is really a nice guy.

I never want to play the same character twice. I like to do different roles. I have fun with that.

I never want to sort of put all the cards on the table all at once, because that's somehow there's always a journey to go on. There's always something to be revealed, in my mind, about characters.

In every age there has been a stream of popular opinion that has carried all before it, and given a family character, as it were, to the century.

In every character I play, I try to imbibe something. Every film is a learning process for me.

I never went after character payments. I'm pretty much terrible at naming characters, so I usually name them after people I know.

I never write my stories as a wake-up call as such. I simply explore the kinds of situations that I find personally challenging by placing characters into situations that challenge them in similar ways.

In every analysis you need to isolate what the real assets are and you must not forget to examine the franchise to do business, to review the character and competence of the management and to estimate the outcome if the whole business had to be turned into cash.

In every human being one or the other of these two instincts is predominant: the active or positive instinct to offer hospitality, the negative or passive instinct to accept it. And either of these instincts is so significant of character that one might as well say that mankind is divisible into two great classes: hosts and guests.

In every film, whether it's a fictional character or not, you create an idea of the character and for me I always do a bad impersonation to start with.

In every soap, at the end of the season, relationships end and people leave the show. You look at characters and evaluate whether they're great characters or not, and whether they have a future in the show. And we did all of that.

In every take, that you're not sure of what they're going to cut and paste together and what the arc or the purpose or the intention of your character's journey will be in the story. You don't have control. Sometimes that's wonderful, and sometimes that can be scary.

In every man there is something wherein I may learn of him, and in that I am his pupil.

In fact, [Gene Wilder] had made a hysteric seem considerably less funny in his film debut as a terrified undertaker in "Bonnie And Clyde." And neurotics soon became his stock-in-trade, whether he was playing the weird title character in "Willy Wonka And The Chocolate Factory...

In fact, most deaths are not tragic. Few people die because of a flaw in character, which is the essential element of tragedy. They just die.

In fact, I always assumed that most everything I read was true, to one degree or another. I couldn't articulate this fact until after I read Tim O'Brien's The Things They Carried and he discussed Happening Truth, Story Truth, and Emotional Truth. I always understood that the facts of The Sun Also Rises or On the Road were the facts as dictated by a certain narrative structure, but because the experiences of those characters echoed my own feelings about the world. I knew there was a Happening Truth behind them.

In fact, not knowing is a necessary condition of writing for me. I don't know how else to reach something unexpected. I have to be as in the dark as my characters.

In fact, the underlying principle of the baroque is the idea of transformation, of movement, and animals becoming man, and man becoming animals, and mythology. It was a way to inspire pre-Christian character.

In "Faithful," Ray Bradbury is discussed a lot. The characters read "The Illustrated Man.

In fact, my favorite Beatles song is "In My Life." And from that, you can gauge that my friends mean so much to me. I love John Lennon, so it's kind of like moody... There's a lot you can gauge from that. As insignificant as it seems, as an actor, it's an interesting way to approach a character.

In fiction writing ideas have to be handled extremely carefully. You can't let your characters just be mouthpieces for your ideas. They have to live and breathe on their own.

In film, the camera can get an array of shots so the audience can see the emotion the character is giving off. Using close-ups on the characters face really helps get the message across. On stage, you cant do that. But the stage has that live feeling that you cant get anywhere else because the audience is right there.

In fiction, I have a residual guilt when I focus on story over language or mood or whatever - the more "literary" things. In screenwriting, I don't have that guilt because story is the only thing. Character, dialogue, everything else - they feed into and drive story.

In fiction the narrator is a performance of voice, and it can be any style of voice, but I'm interested in the ways that a voice that knows it's telling a story is actually telling a different story than it intends to. In the way that I can sit here and tell you what I had for breakfast, but I'm really telling you that I'm having an affair, something like that. And I don't think my writing is plain, but I think a lot of my characters are just talking. There is vulnerability there, in that we can start to see through them, we can start to see where they're deceiving themselves.

Influence follows close upon the heels of character; and whatever we are, that we shall in the end be acknowledged to be.

In folk music, I've always been fond of the fragment. The song that has one verse. And you don't know anything about the characters, you don't know what they're doing, but they're doing something important. I love that. I'm really a sucker for that kind of song.

In fiction, I tend to write fairly realistic dialogue-not always, and it tends to vary from book to book. But in many books, there is a colloquialism of address. The characters will speak in a quite idiosyncratic way sometimes.

In fiction, plenty do the job of conveying information, rousing suspense, painting characters, enabling them to speak. But only certain sentences breathe and shift about, like live matter in soil.

In fiction, it's as if you enter a dream world that you created, but your characters have their own free will. They don't do what you want them to do - they get into trouble, do drugs, fight over petty things, and do outrageous things that you wouldn't want your children to do. In other words, you can only provide the background, the seeds - in my case the background of the Vietnamese refugee.

In fashion, it’s always better to be an interesting person than a beautiful one. Character is much more fascinating than pure good looks.

Infelicity is an ill to which all acts are heir which have the general character of ritual or ceremonial, all conventional acts.

In general, American life is more easy-going. And civic pride, national pride in a cultural sense, is great in America. I think what they esteem in America is character and energy, and being different and superior to other peoples. Of course, every nation feels itself to be superior, but in America it's a jaunty feeling, and in some cases a rather ominous one among the super-patriots.

In general, I'm always interested in characters who have kind of extreme aspects to them, who are in some ways larger than typical people.

In general, I think my freedom of invention is not limited when I use historical characters.

In friendship similarity of character has more weight than kinship.

In general, I enjoy athletes who have a strong character who let their abilities speak for themselves.

In general, I have some precise ideas about everything, because the film is completed in my head before we ever start shooting. With casting, I am always present, even for the smallest character.

In general, the auditions I go up for are very sparse, I guess because of my ethnicity. And the characters are very similar: shy, innocent and naive; the connotations that come from the way that I look.

Ingeniously plotted and executed, Print the Legend is an epic masterpiece from Craig McDonald. Beginning to end, I was riveted by this story of character, history and intrigue.

In Garden Party or 40 Days and 40 Nights, I played characters who people dont necessarily like; I just find some humanity in them.

In general, I did what a lot of character actors do: I did it to get girls.

In Halloween, I viewed the characters as simply normal teenagers. Laurie, Jamie Lee's character, was shy and somewhat repressed. And Michael Myers, the killer, is definitely repressed. They have certain similarities.

In going directly to Investment Heaven, you build your portfolio as you would build a wonderful company through a merger and acquisition program. You specify the way you want your portfolio to look, and then you assemble the profile piece by piece by bringing together companies that make their own individual contributions to the desired character.

In hard-core science fiction in which characters are responding to a change in environment, caused by nature or the universe or technology, what readers want to see is how people cope, and so the character are present to cope, or fail to cope.