Best 14098 quotes in «character quotes» category

I come from a little bit of a theatrical background. I started that way. I don't have a tremendous body of work or anything, but I went to drama school. And so, to get to do a piece where the characters get to talk a lot, and that isn't just about the spectacle or the set piece, or is simply visual or movement based. It was really wonderful for me, and juicy and exciting.

I confess I am a romantic. I love romance, and I think it's really fun and delicious and some of my favorite films are love stories. I think that you just get a chance to fall in love with the characters so much and you get to explore their lives so deeply.

I come in as an actor, having read through the script a few times, made a couple of character-choices, thinking I'm going to be working on it during rehearsals. It's very different. It takes a while we're always like dogs sniffing each other's asses.

I concentrate on character, theme, language, structure, voice. It actually surprises me that no matter what I write, people declare it "intently political." I'm just writing about the world I know, as it is. Wounds and griefs included.

I concluded that an active sexual relationship between two people of the same sex might therefore reflect the love of God in a way comparable to marriage, if and only if it had the about it the same character of absolute covenanted faithfulness.

I come from the theater, and I've done a lot of character work in the theater, but Hollywood stuff in film and TV, they've been more leading lady/ingenue type roles.

I come to writing from hearing great stories as a child in Louisiana, where the mark of a person was his or her ability to be a raconteur. I also come to writing as a professional actress whose body has been trained to listen and smell and inhabit characters without judgment.

I consciously try to end my novels at a point where I won't have to wonder about my characters ever again.

I come from a theater background, so I always like to dissect the scene and try to get some hint about what the author was trying to get at. I still look up the meaning of the name of the character to see if there are any clues in that.

I consider it as a foreshadowing of modernity in many different respects, and the consistency of character is interesting to the emerging modern psychology. The emphasis on dream knowledge relates quite deeply to psychoanalysis, although I suppose psychoanalysis wouldn't like to say that... Freud was always saying he was a scientist.

I consider myself a character actress, and that's working out. I'm getting chances to do things. I like the process - I don't want to pretend I'm something other than what I am.

I consider myself a character actor.

I consider myself fortunate that I've been able to find a character that people have responded to.

I constantly have anxiety about being the lead of the show. I don't talk about it because it scares me. But I've always wanted to be part of something where I could work on a character in such a big manner, and you get offered that with all the trappings of being the lead of the show.

I consider it an actor going to work with other actors. It's not a competitive sport, it's not to outact anybody else, sorta thing, you can be a bad actor but you don't outact anybody, you just bring your character as best as you can.

I could almost hear the characters inside, murmuring and jostling, impatient for me to open the cover and let them out.

I could definitely empathize with the character, with the feelings of helplessness - if only the desperation and the feeling of isolation.

I could imagine that a character could do almost anything at any time, and that was the freedom of the whole thing. But keeping track of what was plausible for certain characters [was the challenge].

I couldn't imagine a book with many characters in it and one of them not being gay. It would have felt like a glaring and problematic omission for me. But I also wanted to write that character as a person, not just a gay person.

I couldn't say no when I received that offer [to re-invent the DC characters]... How can any writer say no to the opportunity of redoing every one of DC's top superheroes?

I could not live by literature if only to begin with, because of the slow maturing of my work and its special character.

I could never think well of a man's intellectual or moral character, if he was habitually unfaithful to his appointments.

I couldn't deal with playing a character who rides motorcycles and has a leather jacket and is a tough kid, y'know?

I couldn't stand for a flag that represented tyranny and oppression. Not just from a domestic perspective but from a global one. It's supposed to represent equality and justice for all, and I believe the flag is a symbol that's supposed to represent the character of the people. When that character is not in line with what I believe in, then I'm opposed to that symbol. I couldn't see myself standing and still can't.

I couldn't function if I weren't allowed to stretch and do really different characters where I can change the whole "beingness" of that person. That's my pleasure in acting and has been since I was a kid. That's always been my pleasure to create complete characters.

I couldn't possibly tell you. But I would say be very careful with your suppositions. People are so quick to jump. That's what I love about playing the character. People are so quick to draw conclusions about who he is. The whole thing about Loki is that he's dancing on this liminal line between redemption and destruction. Just be very careful about drawing conclusions based on what you see.

I created the characters from what I read in the script. I decided how I should talk, accent, no accent, my own voice, or a created voice. Then, I visualize what I should look like.

I crave the diversity because I'm an actor and it's more fun to play different types of characters, but I'm pretty spontaneous as well, so I don't rule anything out.

I create a playlist for each and every character that I play.

I created a character whose motives were pure and good and she was going to go out and save the whole world. But the truth is, you can't save the whole world, but you can save one. And that was the whole thrust of the novel - to save just one.

I create women characters by watching the female staff at my studio. Half the staff are women.

I create my own backstory regardless of if I'm told something about the background or not. There's always more that you can develop in your head that makes a character more layered, more honest.

I craft everything in the beginning. I know where the characters are going before I start writing the book.

I'd always wanted to be an action heroine. That's a chick dream, getting to wear a leather bodysuit and be blonde and kick ass. But, what really attracted me to 'Dredd' was the script. It was fantastic! It was about people and characters, and not just about explosions and fighting.

I'd been concerned all along that the character of the president in the West Wing pilot would throw the ensemble out of whack, that that character would simply take up all the oxygen in a room. I wanted to hold off bringing this character in until the last possible moment.

I'd be more interested in doing a smaller, character driven thing, rather than another action picture.

I'd already rehearsed it [ Don't Kill It script ] for the first time it was supposed to happen and the second time. That was a blessing in disguise because the character [Jebediah Woodley] grew a little bit in me.

I'd always assumed I was the central character in my own story, but now it occured to me I might in fact be only a minor character in someone else's.

I'd been a Superman fan since the time I was a little kid. We had great respect for the Donner movie, and Superman II with Terence Stamp as Zod but I felt it was time to bring the character into the 21st century.

I'd be happy to play anyone's girlfriend. I'm happy to be working, ever. It's not an intentional thing to play these messed up, crazy characters, but I'm happy to do it 'cause someone's got to.

I'd always wanted to do a film than TV show because film is always where my heart has been. I like diving into the character for a few months, and then leaving it behind. I love the idea of that.

I deal in a very artistic way of what interests me and marks my passion, and I try to - whether its good or not - am in love with acting and the stage and characters and the ability to reach and to touch people, so that's where, I guess, that's where my heart will reside, by and large.

Ideals are like the stars: we never reach them, but like the mariners of the sea, we chart our course by them.

Ideas are, in truth, forces. Infinite, too, is the power of personality. A union of the two always makes history.

I decided that, if I were to write a teen series, I'd want to set it in a place that was familiar to me - Manhattan, where I'd grown up - and I'd model the characters on myself and my friends.

I definitely did not play myself. As the writer of the script, I have traits of all the characters. I can relate to all of the characters.

I decided to do philosophy at university, with a view to becoming a professional philosopher. Being a rather unstable character, at some points I had doubts about becoming a professional philosopher, but the example of two of my teachers, Ezequiel de Olaso and Juan Rodriguez Larreta, made me confirm my original decision.

I decided to give acting a serious, committed try, and soon after, I read the script for 'Lovely and Amazing.' The story was beautiful and honest, and the characters struggled with the same insecurities many women - including me - face. I didn't think I had a chance in hell of being in the film, but I knew I had to go for it.

I definitely acknowledge that The Matrix and Trinity had an influence on female action-oriented characters in television and in film. I think it's awesome.

I definitely feel like when I write a book it's not my job to police or guide the readers. The book and the characters don't belong to me anymore. If that makes sense.