Best 14098 quotes in «character quotes» category

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.

You can really help support a character if you understand the setting. So for that reason I generally write about Philadelphia.

You can say "ass," but you can't say "asshole." That's why I always cringe when a character in a TV show refers to someone as an "ass." Unless you're British, calling someone an ass really doesn't work. But those are the rules of television. You can be a dirtbag, but not a scumbag.

You can start right where you stand and apply the habit of going the extra mile by rendering more service and better service than you are now being paid for.

You can take the high moral ground intellectually, but if it ever happens to you personally, I don't know that I could honestly say that I wouldn't want to kill someone who took someone away from me. So, it's a rich, fertile ground for great characters and great storytelling. That was the impetus.

You can't be beautiful and hate because hate is a corroding disease and affects the way you look. ... You can't hide it - ever. It shows in your eyes. It warps your expression. It affects your character, your personality.

You can't be funny for funny's sake. You try to get as outrageous situation as you can but it always has to be believable and based in real character motivations and what people would really do.

You can't blame a writer for what the characters say.

You can't be a good leader without good character.

You can't do a movie without villains. You have to have something for the heroines or anti-heroines to be up against, and I wasn't going to contrive some monstrous female, but even if this were the most men-bashing movie ever made-let all us women get guns and kill men-it wouldn't even begin to make up for the 99% of all movies where the women are there to be caricatured as bimbos or to be skinned and decapitated. If men feel uncomfortable in the audience it is because they are identifying with the wrong character.

You can't develop character by reading books. You develop it from conflict.

You can tell alot about a fellow's character by his way of eating jellybeans.

You can tell the character of every man when you see how he receives praise.

You can't go around hoping that most people have sterling moral characters. The most you can hope for is that people will pretend that they do.

You can teach almost anyone determined to learn them the basics required to write sentences and paragraphs that say what you want them to say clearly and concisely. It's far more difficult to get people to think like a writer, to give up conventional habits of mind and emotion. You must be able to step inside your character's skin, and at the same time to remain outside the dicey circumstances you have maneuvered her into.

You can tell the size of a man by the size of the thing that makes him mad.

You can't have virtue without sin. What I'm after is having my characters' virtues defined by how they operate in a very sinful environment. That's how you test people.

You cant just trust to luck; you have to really listen to what that character is telling you.

You can't just have a fight scene. In my opinion, it has to be a character moment or story moment.

You can't just pretend that the things you watch, and the things you hear, and the places you go will not have an impact on your character. They will.

You can't plan your character arc - you have a vague idea, maybe, but I'm constantly surprised. Sometimes actors in films will play the ending of the movie, or even the middle, and you know where it's going - as an audience member you can read the actor.

You can't run a government solely on a business basis...Government should be human. It should have a heart.

You can't really judge characters, because that's when it gets really hard to play them.

You can't really write until the characters kind of show up one day and tell you what they're going to say. You start to hear the rhythm of the way the people talk, and then it becomes easier.

You can't say the public likes generic characters. Give others a chance, go for a more rooted and honest characterisation, take some risk, and then let the public choose.

You can't take a character anywhere they don't expect the character to go. But within those confines is where creativity lies

You can't take yourself too seriously. Like, yeah, I'm doin' all that, but still I don't feel like I've done anything, really. I feel blessed 'cause I'm doin' all these things, but I'm not satisfied. I still have that feeling like, "Who am I? Who am I to have an ego? Who am I to change up and act like some Hollywood character?" Technically, in the grand scheme of things, I haven't done anything.

You can't truthfully explain your smallest action without fully revealing your character.

You can't tell an audience to like a character. And I think the best way to get the audience on someone's side is to embarrass them.

You can't think about how people will perceive you or your character. All you can do is focus on your work. The rest is up to the universe... I've been acting for 16 years. I've done 55 movies and, in all seriousness, there's maybe five that are good and the rest are crap.

You can't throw a rock without a comic book character falling out of a tree.

You can't write good characters if you can't imagine what it's like being in another person's skin. And if you can imagine that, you naturally want other people's lives to be better. You want to make that happen.

You carve out the organization's character through your daily choices. You shape its conscience as you exercise your own.

You choose your friends by their character and your socks by their color.

You come before me this morning with clean hands and clean collars. I want you to have clean tongues, clean manners, clean morals and clean characters.

You could imagine writing about a prostitute, for instance, but if you haven't spent time with prostitutes then you're going to get all these details wrong. But if you have a lot of sex with prostitutes and you're friends with prostitutes and you interview prostitutes, then maybe after many, many years you might be able to create prostitute characters.

You definitely do not do films for that particular reason. You do them for yourself, for your satisfaction of creating this thing with characters and watching these characters take on real life - that's all you care about.

You couldn't hope to make a drama and have people rewriting on the day and having the actors making suggestions, "Wouldn't it be funny if my character did this?" "No. You're the actor. I'll tell you what to do.

You'd be naive if you think you are going to retain any control once you option a character to TV.

You could only draw conclusions about my personal sexual politics if you proceed from the assumption that I was presenting the characters as the way it is and the way it ought to be. But both are clearly defined as deranged – it’s love among the mad. He’s a psycopath, so is she. She’s prepared to throw him to the dogs until he works out the code, he’s prepared to let her nearly get executed. They’re not really going to buy a house and a Volvo together. I’m not saying this is how people should date!

You couple that with how I looked when I was younger, and growing up... The voice is not quite breaking. It's awful. No, I don't enjoy that at all. But that's one of the things people love and find so endearing about the Harry Potter series, and why they've lasted so long. Because people have grown up with us, and they care about the characters. They're not just some characters in the film, they're people you can relate to, and you care about, and you grew up with, and when they die in this film, people feel it!

You definitely care about your character because you wear it and you're associated to it by all means and I love the change and spontaneity. At the same time, you know, acting is a profession and you realize that this character is not necessarily your property.

You could say I'm a character actress. Or maybe a character actress who does peculiar, interesting lead roles. Does that make sense?

You don't do background music the way a lot of more conventional films do. The music is often kind of a character in your films to the extent that sometimes you stop and watch someone perform a song.

You do a movie, depending on the character, there's some degree of makeup involved, especially when you're playing a vampire and you're all white and kind of dead. Sleeves, regarding costumes, there are generally sleeves, which I appreciate. I think we all do.

You do not characterize by telling the reader about the character. You do it by showing the character thinking, speaking and acting in a characteristic way. You simply show it and shut up.

You don't buy evil characters lattes. That's not normal behavior.

You don't get roles like leading character in 'Christine' very often because people don't really like women on film to be unlikable. I think Christine is lovable, but I don't think she's likable. I think there's a fundamental difference. For me, those are the richest ones. Men have had a career of doing those kind of things.

You do not settle whether an argument is justified by merely showing that it is of some use. The distinction is not between useful and useless experiments but between barbarous and civilized behaviour. Vivisection is a social evil because if it advances human knowledge, it does so at the expense of human character.

You don't encounter anyone who is not hero or villain of their own story. If it's man vs. self, you have to explore the ways each character is villainous and heroic.