Best 14098 quotes in «character quotes» category

It was only after I untied my girlfriend from being face down on the bed that I learned her screaming, 'Asshole!' was a statement about my character and not an invitation or request.

It was only when I started making short films in college and I was looking for girls to play the me-ish parts that I thought, Well, maybe I'm just going to try doing this myself before somebody else comes in and handles it. For a long time my acting was just a marriage of convenience between me and these characters that I was writing.

It was our goal to dig into the characters and really try to find out why they think the things they think and why they do the things they do - and we got some amazingly candid and revealing interviews - but it's not my job to offer summary judgment on those interpretations.

It wasn't exactly a cattle call. I had an agent, and they were seeing people for the parts, so my agent said, "Here's the script, see if there's anything that speaks to you." And I did, and I called my agent and said, "I think this character Data is kind of interesting," and she said, "Well, okay, I'll get you the appointment with Junie Lowry." I had to read with the casting agent first, 'cause nobody really knew me then. Then after that, I had, I think, six different auditions for the role. And finally it was me [on Star Trek].

It wasn't shared social status or ethnicity that brought Jesus' followers together either, nor was it total agreement on exactly who this Jesus character was - a prophet? The Messiah? The Son of God? No, there is one thing that connected all these dissimilar people together it was a shared sense of need: a hunger, a thirst, a longing. It was the certainty that, when Jesus said He came for the sick, this meant Jesus came for me.

It wasn't like this happy-go-lucky experience, shooting Norman movie. It was something I kind of had to, sort of dedicate a certain level of focus and energy to kind of just stay in this headspace that would allow me to access - because it's also a very emotional movie at times. This was the first time I ever played a real character, a fully fleshed out, dimensionalized, multi-faceted character, as opposed to a part. There's not very much opportunity for somebody of my age and my look, so for a character-driven piece like this to come along is a rare thing.

It was observed of Elizabeth that she was weak herself, but chose wise counsellors; to which it was replied, that to choose wise counsellors was, in a prince, the highest wisdom.

It was seriously just a name. They didn’t tell you what to do. They didn’t tell you how they wanted the character to be - nothing. You went in to audition for this character name and that was it. When I started, before I came onto the set, I went to Gene Roddenberry and said: hey, what do you want from this guy? Who is he? And being as smart as he is, he said: don’t listen to what you’ve heard or read or seen in the past, nothing. Just make the character your own. And that’s what I did.

It was the character of the Packers, man. We played for sixty minutes. We let it all hang out. There was no tomorrow for us. We got the adrenaline flowing, and we just let it go, man.

It was the first time I worked with Matthew McConaughey [in the True Detective].They're fun guys [with Woody Harrelson]. They don't take life at all too seriously, but yet they take their work very seriously. And both of them are just so committed to character and the story.

It was really the dream role, and when they first cast me, and I started playing Dolores [in the Westworlds] and all I knew was the analysis mode and her prairie-girl character, I thought, "Yeah, of course I can do this, and I'm good at it, but why did they pick me?" Not because I'm not capable, but I'm also kind of a tomboy, edgy, so I was curious.

It was such a paradox for me that the only thing I know how to do is act, but that the first thing I abandoned while writing were the characters

It was stated, . . . that the value of architecture depended on two distinct characters:--the one, the impression it receives from human power; the other, the image it bears of the natural creation.

It was really fun and intimate in a way. Working with George Miller is exquisite. Gloria is different from anything I've ever played before. The first time I saw the characters in the studio I remember thinking that Mumble looked just like Elijah, with such a cute and endearing face. I don't think Gloria looks that much like me.

It was such an interesting character and the film really explored his friendship with Bond and how it all went wrong, so it was a very personal journey for both characters.

It was the first time it had ever occurred to me, that this detestable cant of false humility might have originated out of the Heep family. I had seen the harvest, but had never thought of the seed.

It was understood that nothing of a tender nature could possibly be confided to old Barley, by reason of his being totally unequal to the consideration of any subject more psychological than gout, rum, and purser's stores.

It was wonderful to be able to play a character who had so many colors and who was able to play comedy, to play incredibly vulnerable, which he did a lot of the time, to play the love story, and to play the relationship with the son, which is quite unusual. That's a gift to me, as an actor.

It was the momentary yielding of a nature that had been disappointed from the dawn of its perceptions, but had not quite given up all its hopeful yearnings yet.

It was this feeling for a lot of my characters, who are dissidents or banned artists and writers, that they had had to fight living under so much surveillance, and then suddenly they come to America and they're like, I'm not being surveilled - I'm not even being noticed at all.

It was very important to me to choose a director like Gary [Ross], whose instincts come from character, who's a storyteller, and who puts characters first.

I tweet, therefore my entire life has shrunk to 140 character chunks of instant event and predigested gnomic wisdom. And swearing.

It was tough to try to be serious in front of Halle Berry and Pierce Brosnan with all this stuff in my face. There's never been a character that's looked this extreme.

It was very nerve-wracking for me. I had to be drunk and have a threesome. I'm not that guy. Bobby Cannavale is that guy. But it was Vegas and things got crazy, and it happened. We go to Vegas to try to sign Elvis Presley and things get crazy. My character [in Vinyl] is stoned.

It works better if your lead character is complex and interesting and not perfect.

It will be very hard to get out of Bond. It will be the pictures I do between Bonds that will color my career, that will give my career longevity after this franchise is over ... I will be stamped with this character for life.

It would be nice to say the rich people, the fancy people, all behaved like bastards and the poor slobs all came through like heroes. But as a matter of fact, sometimes the poor slobs behave like slobs and the great, noble, privileged characters come off very well, indeed.

It would need someone very remarkable to recover your name, Stephen, someone of rare perspicacity, with extraordinary talents and incomparable nobility of character. Me, in fact.

I type even faster than I talk. I'm very proud of that. I type so fast. And I have to because the characters are living in real time and I've got to keep up with them. It's a miracle they even give me a royalty.

It would be kind of ill to see Rachel McAdams win an Oscar [for Spotlight] - I don't think people give her credit for her range, she started in a kind of character with younger demographic-aged films and really made a push to be taken more seriously and got a lot of opportunities and knocked it out the park. But I feel like Jennifer Jason Leigh deserves one, maybe not just for Hateful Eight but for [Anomalisa] and everything. Like, I tried to watch Adaption again, that's rough!

It would seem that if despotism were to be established among the democratic nations of our days, it might assume a different character; it would be more extensive and more mild; it would degrade men without tormenting them. I do not question that, in an age of instruction and equality like our own, sovereigns might more easily succeed in collecting all political power into their own hands and might interfere more habitually and decidedly with the circle of private interests than any sovereign of antiquity could ever do.

It would have shown people that I was prepared to do that kind of work, although I find myself in a position now where I don't really need to and I could pick and choose the kind of characters I'd like to do.

I understand why creative people like dark, but American audiences dont like dark. They like story. They do not respond to nervous breakdowns and unhappy episodes that lead nowhere. They like their characters to be a part of the action. They like strength, not weakness, a chance to work out any dilemma.

I understand that I may make mistakes with characters who don't share my own background, but I commit to doing my best.

I understand pain very well, so I look for that in a role. If the characters are well-written, don't tell nobody, but I'll do the damn thing for free. I'm serious. It's the writing. I love beautifully flawed characters.

I understood, through rehab, things about creating characters. I understood that creating whole people means knowing where we come from, how we can make a mistake and how we overcome things to make ourselves stronger.

I used my daughter's crayons for each main character. One end of the wallpaper was the beginning of the story, and the other end was the end, and then there was all that middle part, which was the middle.

I used to be a lawyer, but now I am a reformed character.

I used to be surprised and a little annoyed when characters would reappear in my mind, itching to be in another story. Now I realize it's part of the deal, that you create these people out of thin air but then, if you do it right, they actually live.

I used to be a huge fan of Heavy Metal magazine growing up, and I was exposed to Cobalt there and fell in love with the character and the world. I've tried to track it down and pursue it myself to make a movie out of it. Also I felt like the thing that's cool about Cobalt is it does have a culty kind of underground quality to it that I really like.

I used to do little sketches into my cassette tape recorder when I was a little boy. I would just turn it on and just start doing voices and characters. I just loved it.

I used to need the character but as I've gotten older I need it less and less - I prefer to play some version of myself. To approach any acting job as me just being me.

I used to use cigarettes to indicate somebody's an outsider a lot. It gave character a seedy, disreputable, almost suicidal quality. Now cigarettes are so unused - - you can't have anybody indoors smoking. If you drew that in a restaurant, you'd have to have a panel where the manager comes over and kicks them out. Unless it's set in Europe, you can't really do that. Characters who smoke - - it dates comics, somehow.

I used to search and search for that actor or actress who's exactly what's in my head. But you have to realize you have to cast whoever's super talented and super funny, and then the character has to become at least partially theirs.

I used to think that God's gifts were on shelves one above the other and that the taller we grew in Christian character, the more easily we should reach them. I find now that God's gifts are on shelves one beneath the other and that is not a question of growing taller, but of stooping lower and that we have to go down, always down to get His best ones.

I used to watch dailies and felt I had to keep on top of the character, but I don't feel that any more.

I use my platform for more than just myself. Art is a reflection of human emotions. To neglect the political is to neglect what essentially is your job of storytelling. I would rather be known for the content of my character than for the project that I did.

I usually base my characters on composites of people I know. One trumpet player in SIDE MAN is really a mix of four different guys I knew growing up. Patsy , the waitress, is a mix of about three different people. I like doing it that way. I start with the characters, as opposed to plot, location, or some visual element. I write more by ear than by eye. I always work on the different sound of each character, trying to make sure each has a specific voice and speech pattern, which some writers could care less about.

I usually play characters that are a lot different than me. I mean, I'm never in a fight in a movie and if I'm in them, I'm usually losing.

I usually focus on the whole group of characters in any given work-in-progress, and as a result they become particularly dear to me as I delve into their innermost motivations and live out their lives.