Best 14098 quotes in «character quotes» category

Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it's all fitted to the action, to the script, to the characters.

Movies and acting are so much fun. I love playing different characters and doing different genres. It's all still very interesting to me.

Movies are a powerful medium. People think you are your character. I've had plenty of people who think I'm Drago. They don't know about the chemical engineering part of my personality. They don't know about the geek part of my personality.

Movies don't look hard, but figuring it out, getting the shape of it, getting everybody's character right and having it be funny, make sense and be romantic, it's creating a puzzle. Yes, having been a writer for so long, I have an awareness of when things are going awry, but it doesn't mean I know how to fix them.

Movie characters rarely get to think out loud or talk very much about their emotions. Instead they have to, very briefly, show their feelings through their action or through dialog.

Movies are open doors, and at every door, I change character and life.

Movies both reflect and create social conditions, but their special charm is to offer fantasy clothes as virtual reality, a world where people consume without the tedium of labor. Characters float in a world where the bill never comes due ... and we wonder why we're a debtor nation!

Mr. Tulkinghorn, sitting in the twilight by the open window, enjoys his wine. As if it whispered to him of its fifty years of silence and seclusion, it shuts him up the closer. More impenetrable than ever, he sits, and drinks, and mellows as it were in secrecy, pondering at that twilight hour on all the mysteries he knows.

Mr. Pickwick took a seat and the paper, but instead of reading the latter, peeped over the top of it, and took a survey of the man of business, who was an elderly, pimply-faced, vegetable-diet sort of man, in a black coat, dark mixture trousers, and small black gaiters; a kind of being who seemed to be an essential part of the desk at which he was writing, and to have as much thought or sentiment.

Much of our poetry has the very best manners, but no character.

Much is written about wine ... of its makers, its nuances, its myths. The white hot center of each wine’s mystery lies in humble corners of the world, where growers pour their intention, their character and their love of labor into each wine.

Much of the way books get classified has to do with marketing decisions. I think it's more useful to think of literary books and sci-fi/fantasy books as existing on a continuum. To oppose them, to suggest that one category excludes the other, always feels bogus to me. The great Leonard Michaels line is "I wanted proximity to darkness, strangeness"? That's what I'd say I want from a book, regardless of where it falls on the fantastical spectrum - that suspense connected to a particular human character, rather than just some mechanized plot.

Much of the character of everyman may be read in his house.

Much of a man's character will be found betokened in his backbone. I would rather feel your spine than your skull, whoever you are. A thin joist of a spine never yet upheld a full and noble soul.

Musical numbers should carry the action of the play and should be representative of the personalities of the characters who sing them.

Music directly imitates the passions or states of the soul...when one listens to music that imitates a certain passion, he becomes imbued withthe same passion; and if over a long time he habitually listens to music that rouses ignoble passions, his whole character will be shaped to an ignoble form.

Multiple characters make it more difficult to showcase each character.

Music and writing do fold together in the sense that you have to have a certain level of skill in order to execute your ideas and you need a medium. The idea of improvisation is one that many writers fall into, and I improvise a great deal when I'm writing, but there's a structural framework that I'm working around, and that takes more time than the actual writing. Once the characters get to yapping and talking, they'll move from one room to the next, and I just have to make sure that the house is built. That's really hard, that's the kind of thing that sits with you all day long.

Multiethnic character of America is very attractive to people. They also see a place where you get ahead, not because of where you came from, but because of where you want to go.

Musalia [Mudavadi] has a much weaker character in person than [Musikari] Kombo, and you know the joke about humble Luhya servants as cooks and watchmen...Anyway, jokes aside, Luhya disunity is a blessing for us and I would never have wanted it any other way.

Muscles are in a most intimate and peculiar sense the organs of the will. They have built all the roads, cities and machines in the world, written all the books, spoken all the words, and, in fact done everything that man has accomplished with matter. Character might be a sense defined as a plexus of motor habits.

Musically, though, you're a character and you're singing a song. If you're not your own character, you're the character in the song, most of the time. Even blues musicians, a lot of them who were the most realistic, at times, they were singing a song and portraying a character in the song. There's something to be said for getting involved in the emotion of a song, too, with the characters.

Musicals and horror films can be very non-verbal and very pure cinema with movement. The camera is justified in being a character. It can really move and tell a story, and literally direct you to look here or there.

Music is a defining element of character.

Music has a power of forming the character, and should therefore be introduced into the education of the young.

Music is a language by whose means messages are elaborated, that such messages can be understood by the many but sent out only by few, and that it alone among all the languages unites the contradictory character of being at once intelligible and untranslatable - these facts make the creator of music a being like the gods.

Music has the power of producing a certain effect on the moral character of the soul, and if it has the power to do this, it is clear that the young must be directed to music and must be educated in it.

Music helps define the character and is an extension of the character somehow, so that you are able to use both the songs themselves and the way that you sing them to tell something about the character and his story, as well as develop a performance style.

Music is music and I think music people are the delivers, the actors, when they put their music out they want to insert their character in it. So they call it such and such so you know how they live so to speak.

Music is so essential to the Cuban character that you can't disentangle it from the history of the nation. the history of Cuban music is one of cultural collisions, of voluntary and forced migrations, of religions and revolutions.

Music or sound in a film is a character as important as another character.

Music so wishes to be heard that it sometimes calls on unlikely characters to give it voice.

Music will save your life, but may leave you with a life not worth saving. The characters Phonogram tends to follow are extreme cases.

My action follows my characters. If a character is a cop, you cannot be posing all the time, you cannot fly off the roof because it doesn't make any sense - it's not practical.

My ability to adapt has always stood out. I've been immersed in many worlds and have had the influence of many things in my upbringing so I'm familiar with so many styles of living, so many characters, so many life paths and its just easy to simulate for me.

My ability to survive personal crises is really a mark of the character of my people. Individually and collectively, we must react with a tenacity that allows us again and again to bounce back from adversity.

My American accent is really, really good. I started out in the theater, doing all different characters with all different accents. When I first came to America, I thought I would be playing American, all the time. It was just weird how it worked out that I played more international characters.

My advice is: to try and stay really true to the things that make YOU laugh, as opposed to trying to create a character that you think is funny. Some comedians get into bad habits when they are trying to create something that is not them, and they are trying to write a voice that isn't their true voice.

My agent and I try to be picky with roles so that I can drive my career in different directions and be different, creative characters. I want to be an actor for the rest of my life and to have fun with my career. So I told him that I wish I could do a movie that already has a fan base. And then 'Twilight' came along!

My ardent desire is, and my aim has been, to comply strictly with all our engagements, foreign and domestic, but to keep the United States free from political connections with every other country; to see that they may be independent of all and under the influence of none.

My being Indian is possibly the biggest thing that influences my stories. Not just in terms of settings - most of the settings in my stories are Indian - but also in terms of characters and plot. I think growing up in India grew my imagination in certain ways that would not have happened in any other place. I'm also fascinated by the idea of India, and writing stories allows me to explore this. As for thematic elements, they are probably pretty obvious in my stories. I also hope that my stories bust stereotypes at least to a modest extent.

My belief about performance capture is that it's a technology which allows actors to play extraordinary characters. But from an acting perspective, I've never drawn a distinction between playing a conventional, live action character and playing a role in a performance capture suit. And from a purely acting point-of-view, I don't believe there should be a special Oscar category because I think it sort of muddies the waters in a way.

My approach to the work is the same, whether I had the lead or a supporting role. I consider myself a character actor in the true sense of the word. Unless I'm doing my autobiography, I'm playing a character.

My attitudes aren't directed toward characters at all. I don't feel sympathetic toward some characters, unsympathetic toward others. I don't love some characters, feel contempt for others. They have attitudes; I don't.

My basic mistake in 'The World's Greatest Lover' was that I made the leading character a neurotic kook and sent him to Hollywood. I should have made him a perfectly normal, sane, ordinary person, and sent him to Hollywood. The audience identifies with the lead character.

My biggest difference with our film and those kinds of science fiction films is that they are going from one special effect set piece to the next, what we were doing was more of a character study. And I think that is the freedom that you get by doing an Indie film. You can only really do that with a lower budget. So I understand where the conflict is between those two priorities.

My biggest fear in writing 'Gossip Girl' was that the characters would sound like stereotypical rich, air-headed heiresses. These were my friends. They were smart and multifaceted. They had interests and passions. They wanted to become lawyers and doctors and writers and filmmakers.

My books are character-driven. They're not driven by the story.

My biggest regret is that I've assisted the media in making me into a cartoon character. I don't regret what has happened to me, but I regret the way I have dealt with it.

My books usually end where they began. I try to bring characters back to a point that is familiar but different because of the growth that they have gone through.