Best 14098 quotes in «character quotes» category

It [Moonlight movie] deals with drug addiction, drug dealing, and single parenthood, but they are three dimensional characters. You understand where they are from and what they are trying to do with their lives. It is not a stereotype that has been pasted onto somebody. These are stories that come from Barry's [ Jenkins] and Tarell's [Alvin McCraney] mothers.

It [moviemaking] is about entertaining audiences with great characters and great stories, you want to make people laugh, you want to make people cry, you want to have great music that is memorable. You want a movie that, as soon as it's over, you want to watch it again, just like that. That's what it is, whether it's live-action, animation, hand drawn, computer, special effects, puppet animation, it doesn't matter. That's the goal of a filmmaker.

It must be remembered that the Bush White House has a separate talent for character assassination that must not be confused with a talent for governance.

It may seem unfashionable to say so, but historians should seize the imagination as well as the intellect. History is, in a sense, a story, a narrative of adventure and of vision, of character and of incident. It is also a portrait of the great general drama of the human spirit.

It must not be thought that the cowardly feeling of caution and uneasy self-preservation is innate in the English character. It is the consequence of a corpulence derived from wealth and of the training of all thoughts and passions for acquisitiveness.

It often happens that those are the best people whose characters have been most injured by slanderers: as we usually find that to be the sweetest fruit which the birds have been picking at.

It only takes 140 characters to toss ones character out the window.

It occurred to Susan that men were always waiting for something cataclysmic-love or war or a giant asteroid. Every man wanted to be a hot-headed Bruce Willis character, fighting against the evil foreign enemy while despising the domestic bureaucracy. Men just wanted to focus on one big thing, leaving the thousands of smaller messes for the women around them to clean up.

I told my friend - we were working on a movie together - and he gave me a script and asked me to give him notes. And they were all male characters, and I said, "You know what would make this character more interesting?" And he asked what - and it's this road trip between three guys, basically, one older man, one 30-year-old and a 13-year-old mechanic. And I said, "If you make the 13-year-old a girl, and you make her an Indian-American mechanic." And he said, "What do you mean?" And I said, "Yeah, don't change anything in the script about him, and just make it a her.

I told my agent which women I aspire to have a career like: Frances McDormand, Kate Winslet, Laura Linney and Emma Thompson - character actresses who have something to say. I also said that I loved Madeline Kahn and Jessica Lange.

I took a fortnight off. But I'm not a great believer in breaks. I don't want to be rattling around inside my own head. I did feel I was spiralling into a Kathy Burke character and tried going out, but I prefer it here. Filming keeps me busy. It absorbs me.

I totally agree. I hate knowing too much when I'm going to the cinema and watching as a viewer. I don't want to know that the actor has just gone through a divorce. I don't want to know that the person is an alcoholic. It just gets in the way of my pleasure of watching the character on the screen.

I treat any scene the same - dialogue, action - you're still creating something in character. It's all acting, fighting.

It really wasn't my thing. It still isn't my thing, the whole science-fiction action thing. I prefer simpler, character-based movies.

It really depends on what the screenplay is asking of you, and what your responsibility is to that character. You have the author's intent to deal with, you have the filmmaker's vision, and then you have your own wants, desires and needs for the character. It's collaborative. But I knew, right off the bat, that there was no way to go into some sort of pink-haired, clown-nosed character with Ronald McDonald shoes.

It probably says something really clinically terrible about my character that I need to get up on a stage and go 'Ra ra ra' in front of people.

It really showed that you can do a major motion picture, from the folks at Marvel, that has multiple characters on an epic scale. On top of that, it also showed us that one of the most important elements is a certain kind of levity.

I truly believe that recovery requires some kind of stasis where you have to sit and internalize and lick your wounds and confront that darkness. I think that being hurt and recovering from that hurt is important in building character.

It requires strength of character in order to think and to act in opposite fashion from the crowd and also patience to wait for opportunities that may be spaced years apart.

I tried to photograph the mysterious, true and magical soul of popular Spain in all its passion, love, humor, tenderness, rage, pain, in all its truth; and the fullest and most intense moments in the lives of these characters as simple as they are irresistible, with all their inner strength, as a personal challenge that gave me strength and understanding and in which I invested all my heart.

I tried to find a character and how I would be an American actress in the 30s. But if this was a talking movie [The Artist], I'm sure she would be exactly the same for me.

I truly believe the book of philosophy to be that which stands perpetually open before our eyes, though since it is written in characters different from those of our alphabet it cannot be read by everyone.

I try to always step up to the plate, be professional, be good at what I'm doing and deliver on the character. In Hollywood, what more can you ask for. You want a consummate professional.

I try not to divide plot and character. I get to know a character by what they want and fear and how those internal forces play out in their lives.

I try mainly to just focus on character and what my character's point of view is, with each person, and try to figure out story.

I try to attach myself to people who really inspire me, and directors who are really passionate. That way, I can give myself more fully and trust the impulse behind why the film is being made, and I can be a little more irresponsible in finding out what the character is.

I try not so much to create new characters and worlds but to create new game-play experiences.

I try not to be influenced when it comes to being creative, just in order to sustain my own voice and character. However, I do have many inspirations from the worlds of literature, music, comedy and film.

I try really hard to give my kids as much independence as I can, caring mostly about their character: Are they kind? Generous? Do they work hard?

I try not to articulate ideas in the film once I've arrived on the plot and the characters. I believe that if I focus my attention with enough compassion and heart on those things, then other things will be revealed, and that's from the education that I've had from the novel.

I try to bring elements of my own personality to every character I've played, but I think I'm pretty similar to the character I'm playing now. The biggest departure would have to have been Freaks' and Geeks Sara, who was this sort of subordinate and shy girl.

I try to create as many circumstances outside of set that help me fall into character when I get onto set.

I try to employ a different strategy for each story. Often, I'll have a specific look in mind before I even have the story to go with it. I'm not so much interested in forcing the issue of reader identification through various graphic tricks. I'm more interested in creating specific characters that resonate with my own particular inner struggles.

I try to find what makes even the worst, most despicable character sympathetic at his or her core.

I try to give all my characters a sense of humor, so I guess I feel like I have done comedy, but maybe I'm better known for drama.

I try to be really, really specific, because each character is really an individual and you have to find out what makes them unique.

I try to build a full personality for each of our cartoon characters - to make them personalities.

I try to do as many of my own stunts as possible. If you keep on taking yourself out of the role you play, you lose the thread of the character.

I try to ground most of my characters in reality somehow. That's kind of what I bring to the table.

I try to be eclectic in my choice of films. If I've done anything that's intentional in my career, it's to try to do as many different types of characters and as many different types of genres of movies that I can.

I try to deign golf courses that are individual in character and individual in their own standing.

I try to find what is closest to me in the character. There's many sides to personality, but it's a matter of, do you entertain those specific areas of your personality, or are you afraid to entertain them?

I try to have a balance of things you like and things you don't like about a character. But once you start that, all these scripts are like, "You play the douchebag friend of Ashton Kutcher." It's all these characters that are overconfident or hyper-masculine.

I try to be true to the characters that I've created and sometimes I disagree with them, but their opinions about the story and the characters really matter to me.

I try to get roles that challenge me in what I can do and who I think I can portray. For me, it's about creating characters with really fascinating stories, because that's what I like to watch on TV.

I try to have all my characters have a sense of humor. To me the most interesting thing is a desperate character. I think desperation is funny.

I try to create characters that I am fascinated by on some level or intrigued by or can't stand.

I try to discover the character's primary motivation. In a screenplay, you can make up a hundred different variables of a character. Is he there for love or respect, or is he there out of fear? What's he doing? Why is he doing it? Then I can build on the intricacies. Does he pick his fingernails? Does he always do this when he's lying? All the little things that come with it. But it's also like, if you're doing a caricature and you're like, "I want to do a blue-collar guy from Jersey," you have to go and do the research on the region, the who, what and why.

I try to find out what there is in the character that in a way, you can't put into words. If I could put it into words, then it wouldn't be a performance. And if I do put it into words, as I play it, I start to get boxed in by those words.

I try to keep myself in what I'm doing and focused on character stuff, as opposed to getting wrapped up in worrying or being nervous. It won't benefit me, in any way, to focus on that.