Best 14098 quotes in «character quotes» category

I can take my wife out for a lovely evening this Friday, which is a to do. But being a good husband is not an event; it needs to be part of my nature—my character, or who I am.

I can talk endlessly about characters, or why someone did this or that, and what that dynamic and interaction is. I really love it, and I think that actors really respond positively to the fact that I like to talk about that stuff, because I'm not sure that all directors do.

I can't deceive myself out of the bare stark realization that no matter how enthusiastic you are, no matter how sure that character is fate, nothing is real, past or future, when you are alone in your room with the clock ticking loudly into the false cheerful brilliance of the electric light. And if you have no past or future which, after all, is all that the present is made of, why then you may as well dispose of the empty shell of present and commit suicide.

I can't bear shopping. I can choose clothes for my characters, but not for myself. I've got no dress sense. Or I've lost it.

I can't find anything wrong with Ashton Kutcher. I think he's great. It's odd that in America there's a very mixed reaction to him. I think those that have only seen him on 'Punk'd' or 'That 70s Show' get him wrong. There's much more to him than those characters or that persona he plays in those shows.

I can't help but think that it's an unfortunate custom to name children after people who come to sticky ends. Even if they are fictional characters, it doesn't bode well for the poor things. There are too many Judes and Tesses and Clarissas and Cordelias around. If we must name our children after literary figures then we should search out happy ones, although it's true they are much harder to find.

I can tell you it makes a big difference to have a director who is collaborative. What motivates a character in my mind could be completely different from what the director's thinking. You have to have those conversations ahead of time and throughout the process. It affects the performance.

I can tell by my own reaction to it that this book is harmful." But let him only wait and perhaps one day he will admit to himself that this same book has done him a great service by bringing out the hidden sickness of his heart and making it visible.— Altered opinions do not alter a man’s character (or do so very little); but they do illuminate individual aspects of the constellation of his personality which with a different constellation of opinions had hitherto remained dark and unrecognizable.

I can tell you that as a writer and as a reader, I regard character as king. Or queen. No matter how riveting the action or interesting the plot twists, if I don't feel like I'm meeting someone who feels real, I'm not going to be compelled to read further.

I can't help moving my face - reacting - when I watch a movie, because I'm really inhabiting a character. I know this is weird, but it demonstrates what I love about cinema: it allows you to live a different life, to have a different experience, to disappear for two hours. I think it's wonderful.

I can't recall a story that played out exactly as I'd expected it to. That's one of the thrills of journalism - being surprised, and learning new stuff, but it also poses the biggest challenge to a writer's character.

I can't remember. . . . My character was sort of unconscious for it.

I can't judge the characters I play, because it's for the audience to do. What I can try to do is to understand and embody what were they going through? How did they make the decisions they made? That to me is a more interesting way to approach something, rather than saying this person is a villain and that person is this and - because it's not very interesting to play that anyway.

I can't negotiate and collaborate with a character to create a distilled dramatic investigation of the raw material. I need to work with an actor. That stuff about actors who stay in character all the time is nonsense.

I can't remember when I've liked a character as much as I've liked young Lyle Rettew, or when I've cheered one on so hard, despite the fact that he's clearly crazy and his quest is doomed. A thunderous debut, and the beginning of what will surely be a breathtaking career.

I can't impersonate someone. That is not what I do. I can only take someone's essence and create a character out of that.

I can't not have something attached to like what actually happens in real life. Like I can't do a romantic comedy without there being something where like, in the case of Annie Hathaway's character, her character ends up having Parkinson's, you know? To me, I feel like that's love, you know? Like to me. So every movie has to have that kind of sense of that.

I can't imagine how anyone can say: "I'm weak," and then remain so. After all, if you know it, why not fight against it, why not try to train your character? The answer was: "Because it's so much easier not to!

I can't imagine writing a book without some strong female characters, unless that was a demand of the setting. I actually tend to suspect that in real life, there have always been very strong female characters, but at certain stages of society, they've been asked to cool it.

I can't play anything until I find something that connects to my life, something I can carry as my secret map or code for the character.

I can't really recreate or reconstruct exactly how or from where any of my characters originate, young or old, though chances are at least decent that once I name and begin to know them, young or old, I can then attempt to reveal each as psychologically complex and nuanced, and to speak through them, as William Matthews says, "What it feels like to be human.

I can't play a character that I am judging.

I can't stand it when Lewis Hamilton or anyone else, is made out to be a godlike character. If Lewis was driving for Red Bull I'm sure he would race extremely well, but he'd be battling for points.

I can't tell you why I keep getting asked to play gay characters, but I never really considered 'gay' as an adjective, as a playable thing. Maybe it's an element of the character, but it just describes a preference.

I can't single out one of my books or characters as a favorite. In the same way that I don't have a favorite kidney, my books are organically all part of myself. I might even say that put all together, the books are one ongoing, developing story - which, not coincidentally, happens to be my own lifestory.

I can't stand [female] characters that are not empowered in a certain way, or at least don't come to a conclusion at the end of the movie where they find empowerment in themselves.

I care about people. In the end, I think they feel it. It comes across, regardless of the character I'm portraying.

I care about Roger Sterling, one of the most subtle and amazing characters in dramatic history ["Mad Men"]. This guys who knows precisely who he is, yet leaves us time after time hoping desperately for him to finally grab control of his life and some responsibility for those around him.

I care more about making sure the story is correct and the characters are behaving in character than I do about the individual jokes.

I can understand in some sense, having played the character, how unimaginably frustrating it is for people to tell you that you can't love who you love, because you ain't going to change it, and so they have to get out of your way

I care very much about all of my characters, recurring or not. I try to imagine something about that person beyond his or her physical appearance. After creating them, part of my job is to inhabit them and try to see their world from their perspective.

I can't wait til I get the chance to be a character and how my face looks isn't the first consideration.

I can work inside the boundaries of Erika Murphy, or whoever the character is. It's fun to create somebody that's not you, that doesn't exist.

I care about Bond and what happens to him. You cannot be connected with a character for this long and not have an interest. All the Bond films had their good points.

I care more about an agenda than story and character.

I certainly don' think I could've played the character [Idi Amin] the same way without being in Uganda. I loved working in Uganda.

I certainly have played a lot of strong characters, and I love playing a strong character.

I certainly relate to Ygritte in the fact that she is so strong and also ruthless as well and I feel that especially within Game of Thrones, I think that as a show, it is one of the frontrunners for showing dominant female characters and making sure that men answer to women rather than the other way around.

I choose jobs quite selfishly. I do them for me and the exploration you get to go on with a character... seeing how they react in certain situations, how they develop. If audiences enjoy it, then that's the cherry on top. You don't expect it but it's really nice when it happens. It adds to it and enhances the overall experience.

I choose my friends for their good looks, my acquaintances for their good characters, and my enemies for their intellects. A man cannot be too careful in the choice of his enemies.

I choose material instinctually - at the heart of it are characters that I feel are fresh and original, and allow for an opportunity to, I suppose, explore uncharted ground.

I collect names for characters. Names are valuable; they can be your first source of insight into a character.

I come from a little bit of a theatrical background. I started that way. I don't have a tremendous body of work or anything, but I went to drama school. And so, to get to do a piece where the characters get to talk a lot, and that isn't just about the spectacle or the set piece, or is simply visual or movement based. It was really wonderful for me, and juicy and exciting.

I confess I am a romantic. I love romance, and I think it's really fun and delicious and some of my favorite films are love stories. I think that you just get a chance to fall in love with the characters so much and you get to explore their lives so deeply.

I come in as an actor, having read through the script a few times, made a couple of character-choices, thinking I'm going to be working on it during rehearsals. It's very different. It takes a while we're always like dogs sniffing each other's asses.

I concentrate on character, theme, language, structure, voice. It actually surprises me that no matter what I write, people declare it "intently political." I'm just writing about the world I know, as it is. Wounds and griefs included.

I concluded that an active sexual relationship between two people of the same sex might therefore reflect the love of God in a way comparable to marriage, if and only if it had the about it the same character of absolute covenanted faithfulness.

I come from the theater, and I've done a lot of character work in the theater, but Hollywood stuff in film and TV, they've been more leading lady/ingenue type roles.

I come to writing from hearing great stories as a child in Louisiana, where the mark of a person was his or her ability to be a raconteur. I also come to writing as a professional actress whose body has been trained to listen and smell and inhabit characters without judgment.

I consciously try to end my novels at a point where I won't have to wonder about my characters ever again.