Best 14098 quotes in «character quotes» category

Yorgos Lanthimos said, "What about if he's a bit soft?" And I said, "Yeah, I think you're right." He just comfort-eats a little bit too much. He's just asleep in his own life and has let himself go. And the mustache, I don't know if it was him or I suggested it. But I remember my sister was watching me eat and she was like, "God, does he have to be fat?" And in retrospect I couldn't think of David being any other way because it affected the way I moved. It really did. It slowed me down in a way that I felt was conducive to kind of tapping into the spirit of the character.

Yoga says instinct is a trace of an old experience that has been repeated many times and the impressions have sunk down to the bottom of the mental lake. Although they go down, they aren’t completely erased. Don’t think you ever forget anything. All experiences are stored in the chittam; and, when the proper atmosphere is created, they come to the surface again. When we do something several times it forms a habit. Continue with that habit for a long time, and it becomes your character. Continue with that character and eventually, perhaps in another life, it comes up as instinct.

You and I are characters in God's Story, handmade by Him. Every character serves a purpose.

You always take a little bit back with you at the end of the day. I always put a little bit of myself into the characters, too. You find parallels, points of connection, things like that. But I'm not an actor who gets so incredibly haunted by my characters that I can't come back.

You are always training yourself to be, mind and body, as clear as crystal, and you always are, and never change; whereas I am a muddy, solitary, moping weed.

You, and in fact quite a lot of your generation, have in some way been exiled from that particular sanctuary. It's become almost impossible for someone to "go mad" in the classical sense. At one time people conveniently "went mad" and were never heard from again. Like a character in a romantic novel. But now you are too hip to yourself on a psychological level. You all are too intimate with too many of the symptoms of insanity to be caught completely off your guard.

"You are a boy," said Mr. Dombey, suddenly and almost fiercely; "and what you think of, or affect to think of, is of little consequence. You have done well, Sir. Don't undo it.

You are always working towards the moments in which characters experience reckonings or insight or change. I like to track them past those moments.

You are always hoping that movie audiences are interested in characters and interested in story values rather than just mindless special effects. But you never know.

You are born with a character; it is given, a gift, as the old stories say, from the guardians upon your birth...Each person enters the world called.

You are not just anyone. One day, you're going to have to make a choice. You have to decide what kind of man you want to grow up to be. Whoever that man is, good character or bad, it's going to change the world.

You are not just here to fill space or be a background character in someone else's movie. Consider this: nothing would be the same if you did not exist. Every place you have ever been and everyone you have ever spoken to would be different without you. We are all connected, and we are all affected by the decisions and even the existence of those around us.

You are playing a character obviously, and everything you are saying is filtered through that person.  It is not you that is saying it.  It is filtered through a character that doesn’t have your own set of values - so it is not really odd.  Inevitably we help each other with a lot of line-learning.  Plus there is a familiarity which is quite nice.  We have done TV together before.

You basically go in animation and it's all in the imagination. There aren't even pictures to look at. You usually go in there and work with whoever the director is to create this voice and this character.

You become a character in a meta-drama into which your own dramatizing has pitched you. The rewards can be fantastic, the punishments dismal; it's a zero sum game, and its guarantor of value, its marker is that you pretend you play it solo, preserving the myth that you alone are the wellspring of your creativity.

You become like what you worship. When you gaze in awe, admiration, and wonder at something or someone, you begin to take on something of the character of the object of your worship.

You build trust with others each time you choose integrity over image, truth over convenience, or honor over personal gain.

You can actually improvise a lot as a voice actor. It's not that entirely different than shooting a live action movie; the characters mouths are quite easy to manipulate once all the information is built into the computer. So you can improvise a lot and it doesn't matter really how far along they are in the process they can really just make the character say something different.

You can always find ways to make it different, as long as it's a really well-written script and well-written character.

You build a character, a shell, and if you build it right, something comes to live inside it.

You can be interested in a Jane Smiley novel whether or not anyone says a word. She enters into her characters thoughts with great understanding and depth.

You can do everything differently in a novel. Hero narrates the novel; we're in his head. You're hearing all his thought processes and you're hearing him call himself out on his bad behavior. You don't have the benefit of that narrator in a movie. What you see a character do, very often, becomes that much more important because you don't have him editorializing it for you.

You can compare Holmes and Watson to great Shakespearean characters, in a way. They've been played by hundreds of actors over the years, and each one is a different interpretation - the source material can take that form of interpretation.

You can cultivate taste, as you can the intellect. Full understanding whets the appetite and desire, and, later, sharpens the enjoyment of possession.

You can change your character and, at the same time, change your fortune.

You can construct the character of a man and his age not only from what he does and says, but from what he fails to say and do.

You can build the most important companies in history with a very simple to describe concept. You can market products in less than 50 characters. There is no reason why you can't build your company the same way. So force yourself to simplify every initiative, every product, every marketing, everything you do. Basically take out that red and start eliminating stuff.

You can do what you want to do. You can be what you want to be.

You can draw a penguin on a toilet reading The New York Times and it's adorable, but try doing it with an adult male character, and it's disgusting.

You can get everything money will buy without a lick of character, but you can't get any of the things money won't buy: happiness, joy, peace of mind, winning relationships, etc., without character.

You can learn more character on the two-yard line than anywhere else in life.

You can make a beautiful, airtight world that's fascinating to look at, but it's not interesting unless you have a character that's trying to achieve something under the circumstances of that world. It's harder to play a wacky girlfriend whose journey you just don't understand.

You can make a little thing feel like a big thing. To me, it's all tone. Tone is the most important thing in the world. Then character, then story, or something like that.

You cannot build character and courage by taking away people's initiative and independence. You cannot help people permanently by doing for them what they could and should do for themselves.

You cannot build a cultural identity without the images and sounds of your culture. Most countries in the third world - poor countries - they've lost their memories. Because everyday, films and cultural artifacts disappear. Film is also a memory - of the character and imagination of a culture.

You can make an interesting character in a small portion of a movie, for a character that doesn't have that much on the page, if you just find the contradictions. That's something that I try to bring to my performances.

You can make low-budget film as long as there is something compelling about the characters. There is a believability in the chemistry and a likeability amongst the characters.

You cannot build character and courage by destroying men's initiative and independence.

You can make some inferences about a man's character if you know something about the conditions in which he has survived and prospered.

You can measure a man's character by the choices he makes under pressure.

You cannot base a whole movie on just the imagery alone. It has to be the story and the characters.

You cannot have your news instantly and have it done well. You cannot have your news reduced to 140 characters or less without losing large parts of it. You cannot manipulate the news but not expect it to be manipulated against you. You cannot have your news for free; you can only obscure the costs. If as a culture we can learn this lesson, and if we can learn to love the hard work, we will save ourselves much trouble and collateral damage. We must remember: There is no easy way.

You cannot go wrong with Bugs Bunny. He's the coolest cartoon character ever. I quote him all the time.

You cannot have a good character today and at the same time have a small mind and a little heart. You cannot have a good character today and be merely a petty reformer.

You cannot have good architecture merely by asking people's advice on occasion. All good architecture is the expression of national life and character; and it is produced by a prevalent and eager national taste, or desire for beauty.

You cannot hide any secret. If the artist succor his flagging spirits by opium or wine, his work will characterize itself as the effect of opium or wine. If you make a picture or a statue, it sets the beholder in that state of mind you had when you made it. If you spend for show, on building, or gardening, or on pictures, or on equipages, it will so appear. We are all physiognomists and penetrators of character, and things themselves are detective.

You cannot write down how people are good; you just know it, and cannot get away from it.

You can over complicate everything with techniques; when you're in the moment, you have to feel that you are that character, that you're feeling the pain or the happiness or whatever it is that they're feeling in that moment. Usually the authenticity will manifest itself.

You can put the camera in places where you may not necessarily be able to put it there if I don't do the stunt. If it's character and it's storytelling, then we do it. We design the things around me. I don't do it just to do a stunt. It's storytelling for me and how I can best bring the audience into the action, bring the audience into the story. And that's how we always look at at.

You can take charge, kick ass, do whatever you have to do and it's okay. You can blow people up. These are things that are okay for cartoon characters to do.