Best 14098 quotes in «character quotes» category

You must be respectful and assenting, but without being servile and abject. You must be frank, but without indiscretion, and close, without being costive. You must keep up dignity of character, without the least pride of birth, or rank. You must be gay, within all the bounds of decency and respect; and grave, without the affectation of wisdom, which does not become the age of twenty. You must be essentially secret, without being dark and mysterious. You must be firm, and even bold, but with great seeming modesty.

You must learn to be three people at once: writer, character, and reader.

You must lose yourself if you want to be successful in animation and be the character.

You must learn to look at people who are angry with you straight in the eye without getting angry back. When children see their parents treating them this way, they then recognize the parents' authority. It speaks louder than words. Their new respect for the parents is as good for them as it is for the parents. It never works to demand respect of children. It must be given willingly as a result of strength of good character in the parents, which is manifested by their non-reaction to stress in the children.

You must worry about the truth of your characters and that it fits your vision. The rest will come naturally if you've done your job properly. I love the horror genre but I want to transcend it too. Allow the hardcore audience to see possibilities beyond the easy scare, to embrace its multi-faceted richness.

You need as much ballast as possible to stop you from floating away; you need people around you, things going on, otherwise life is like some film where the money ran out, and there are no sets, or locations, or supporting actors, and it's just one bloke on his own staring into the camera with nothing to do and nobody to speak to, and who'd believe in this character then?

You need clear, energetic minds, in order to appreciate the exalted character of the truth, to value the atonement, and to place the right estimate upon eternal things.

You must rouse into people's consciousness their own prudence and strength, if you want to raise their character.

You need to learn independence. You have to be independent - it builds character.

You never feel lonely if you're writing, because you're living with all these characters in your head.

You never display your character more clearly than when you speak about the character of others.

You never know what you do that could be totally out of left field, which actually might work and give something fresh to the whole scene, to the character, whatever. If you have that with a director who then knows how to shape it, either in the direction, in the moment, or in the editing, then that's good.

You need to keep your creative juices flowing and keep [your] character interesting.

You never know when you're on a show if you're actually going to love it. For the episodes that I'm not in, I read them, but I try to just forget it, as long as it isn't important to my character. That way when the episodes air I get to watch it like a fan and actually enjoy it.

You need to keep everyone wanting more. Every character has so much depth, and there was so much thought that went into it, but it would've taken away at some point from the main story, and everything I think kind of was woven together really beautifully, so that you cared about everyone, and everyone had their own story, but everything helped the main plotline.

You never saw Peter Sellers the actor trying to make you laugh. All he was doing was the character. What I'm saying is that I don't think you should know you're in a movie. I don't like it when actors are winking at the audience and saying, 'Right, isn't this funny? Are you with me?'

You never know where your next job is going to lead you, down the road. One single episode that might seem so far removed from what you might end up doing in the future might spark somebody's memory bank. Just one little line you said or a look you gave might be what they want to pursue with a character.

You never want to play too vampiric or generically evil, so you look for emotions or character traits that you can relate to.

Young men, of course, don't want to be guided by old back numbers, but at the same time I know that in my own case I gained a lot by studying the characters of the chiefs under whom I served from time to time. Lord Wolseley, for instance, said: "Use your common sense rather than book instructions.

Young people are more hopeful at a certain age than adults, but I suspect that's glandular. As for children, I keep as far from them as possible. I don't like the sight of them. The scale is all wrongs. The heads tend to be too big for the bodies, and the hands and feet are a disaster. They keep falling into things. The nakedness of their bad character! We adults have learned how to disguise our terrible character, but children, well, they are like grotesque drawings of us. They should be neither seen nor heard, and no one must make another one.

You only learn when you give your whole being to something. When you give your whole being to mathematics,you learn; but when you are in a state of contradiction, when you do not want to learn but are forced to learn, then it becomes merely a process of accumulation. To learn is like reading a novel with innumerable characters; it requires your full attention, not contradictory attention.

You put a spell on the dog," I said as we left the house. "Just a small one," said Nightingale. "So magic is real," I said. "Which makes you a...what?" "A wizard." "Like Harry Potter?" Nightingale sighed. "No," he said. "Not like Harry Potter." "In what way?" "I'm not a fictional character," said Nightingale.

You rarely get a tentpole that has this much emotional depth, this much character to dive into.

Your brain is the organ of your personality, character, and intelligence and is heavily involved in making you who you are.

You put on a face for the public. The face isn't false; it's just another side of you. If it were false, you couldn't last. People want something real and natural, and if they catch you acting, you're dead. It has to look real. In order to look real, it has to be real, and I've always thought of the characters I've played as real people.

Your characters get angry at you if you speak about them and stop you from giving birth to them on the page in revenge. Real writers sit down and write. Wannabe writers sit around and talk.

Your character defects are not where you're bad, but where you're wounded. But no matter who or what causes the wound, it's yours now and you're responsible for it.

Your character is your accumulation of your thoughts, habits and priorities on a day-to-day basis.

Your character is your destiny.

Your character should always be stronger than your circumstances.

Your character will be what you yourself choose to make it.

Your character must be above suspicion and you must be truthful and self-controlled.

Your characters should be as smart as you are, if not smarter.

You're about to meet a new great dame of crime fiction in Death Was the Other Woman. Linda L. Richards does a stunning job in creating a character with a voice and eye right out of a 1930s L.A. hard-boiled classic: guns and gams, booze and bodies, peepers and perps. Move over, Sam Spade: Kitty Pangborn is on the case.

Your character is the harvest of your habits.

Your characters are always your children. And while you are writing, you're keeping them safe. Now they're ready to go into the world and it's sad. I'm happy with the way the novel came out but all the characters' ending really saddened me.

Your characters have to remain innocent of what your picture is after.

Your character holds the key to your trustworthiness.

Your character is your destiny. Building character is a task for the brave and dedicated. There are no shortcuts when it comes to building character. If you wish to cure minimalism in your own life, to develop a complete commitment to excellence and an absolute rejection of mediocrity, the question you need to start asking yourself is, "What is the most I can do?

You read about somebody, and doesn't really matter whether or not they really exist - the point is that you get into them like real characters.

You're always choosing the start point and the end point. And almost by definition, the most interesting period is where something happens, as a result of which something is different at the end. And so to me, the idea that you know everything about a character at the beginning is sort of ridiculous. Something has to be revealed. I like it when the deeper you go with the character, the more you see the layers start to peel away. It's more challenging to me, but it's also just interesting. Those are the things I like to watch. I like to watch the evolutions of something.

You're being cast for your acting ability. It's not based on the way your body functions. If you're playing a lead in a movie, it's for that character and they'll tailor it to you. In a dance company, you have to fit in a definite mold.

You realize time isn't just a period that you tell a story within - it becomes a major character in the film. There is no beginning, middle, end because there is always stuff beginning and ending simultaneously.

You really have to do your job as a writer and push people to be as creative as possible. What's nice about the TV medium is you have such a connection to the characters that when somebody dies, the audience cries. They really feel it. You really don't cry when someone dies in a horror movie.

You're always learning as an actor... anything you do is a learning experience. It's the same whether you're doing film or TV, you have to do the part to the best of your ability, no matter how big or small the role. It's as simple as that, really. But every bit of work you do is a learning experience - which is the same, I guess, for people in whatever job they do. But with acting, it's also fun to be able to explore different characters and emotions.

You're always working in the movie. Never was I me, and never have I been me, nor was he him. We were the two characters. But the character that I was playing was informed by my DNA, looking at him informed by his.

You really try to work the character out and spend time in the headspace of the character. That's what I did.

You're always trying to look for material that is as challenging as possible, so that's why I like stuff where the characters go through the most difficult times they've ever had in their life. It makes me push myself further and learn more about myself.

You’re a slave? (Eleni) I was. I’m sorry. I shouldn’t have come here. (Acheron) Take your cloak off and sit, Acheron. You’ve done nothing to apologize for. I admire you all the more for stopping to help us. It’s nothing for a nobleman to do so, yet they seldom bother to help those less fortunate. For a freedman to speak up in defense of another takes great courage and character. What you did is all the more noble and kind, and I would be honored to have you sit at my table with us. (Acheron)

You really see life around the principals to be as important as the main, principal actors. That's what cinéma vérité taught me - that it's not a question of having a main character, a great actor, and the rest is unimportant. Every detail, every face in the crowd is important.