Best 14098 quotes in «character quotes» category

It's kind of my whole philosophy as an actor. I think that's what we're supposed to do is play a wide range of characters - or it's just what I like to do, I should say. I like to try to be as different as I can from one thing to the next.

It's kind of ironic that the two sports with the greatest characters, boxing and horse racing, have both been on the decline. In both cases it's for the lack of a suitable hero.

It's kind of ironic that my character is a doctor who acts very gay with his best friend. I don't see how gays could ever be doctors, they spend too much time whining about everything. Just get off your soapbox and go back to designing floral arrangements.

It's more fun to play a good character with a good director and good actors around you. That's what makes it fun, and the more variety, the better.

It's masturbation for writers to be able to write this absolutely outrageous personality, in a character that you somehow agree with, part of the time, at least.

It's like having children. You give birth, but then they take on a life of their own. That's what actors do for characters. It's pretty amazing.

It's like real life: We don't get a preview of what's coming up, thank God, and we don't build our own character from what we're going to be informed with in the future.

It's like my characters, all my men are Dad and me in a mess; all my female characters are smart and hopeful, like Mom just trying to make the best of things.

It's much easier to put yourself out there under the guise of a character. You get a different name, different habits, different words. When I have to just be Nathan, that's when I feel vulnerable.

It's much simpler to be tortured on camera or to be filmed losing your mind. Whereas a script that has characters who are honest, witty and genuine is often much harder to act.

It's my opinion that if you're trying to tell a realistic story that centers around realistic characters, you can't help but touch on important issues. Those issues are what make us human.

It's my job in Hollywood to find roles where I get to be a character not a bathing suit.

It's never been important to be a huge star or to have some breakout role. If you're the lead, you get a lot more screen time and you get a lot more chances to develop that character more thoroughly than you would if you do it in a little supporting part.

It's more interesting when people overcome inner turbulence, but at the same time I do like the innocent. Have you ever read The Idiot? I think Dostoyevsky created a brilliant character there. He doesn't have any self-inflicted wounds. I love that. People don't like him because he's so pure.

It's necessary to track characters all the way through an opera. If you're dealing with more than one or two characters, it's very easy to forget that the others have lives of their own that feed into the story.

It's more like there are some really obvious things that are different and then lots and lots of smaller things, lots of things about who lives and who dies, civilizations that rose and fell, all the way down to individual characters. That becomes the state of where you left your galaxy. The endings have a lot more sophistication and variety in them.

It's motive alone which gives character to the actions of men.

It's much harder to say "I'm going to kill three of the biggest characters in your universe in a gruesome bloodbath." There can be a lot of differing opinions in a mainstream comic book, you know? "Rogue would never do this!" But I can say, "No, Rogue suffered the death of Charles Xavier and it broke her down and she stumbled into a dark place and she started fixating on the Scarlet Witch as the cause of it all" — which, there is a logical chain of events that lead to the Scarlet Witch. And in the confusion, she thought Wanda was up to doing it again and she did what she thought was best.

It's my favorite movie score and because I had such a crush on Christopher Reeve. The music made me love him even more. You know when you hear music in a movie and it makes you fall in love with the characters? That's what happened.

It's nice to be able to explore both sides of my personality. I definitely relate more to Debbie, my character on The Grinder. But it's really nice because I get to play a character who's down on her luck and kinda slipping off the edge in It's Always Sunny, while at the same time getting to play this character who's a mom and holding it together on The Grinder.

It's nice to be playing a character who's never had a live-action version before.

It's not about finding Mr Right, or that sort of conventional ending, but I do want my characters to have hope - and that's what I do with all my stories.

It's never very useful to see your character as a villain. You have to play them the way they see themselves.

It's nice getting to play a different version of yourself. You sign on for a show and think you're just going to play one character for however many years, so it's nice, for an actor, to have a little bit of fun.

It's nice to do something about something that scares you rather than just run from it and hope that someone saves you. I like seeing strong female characters and somebody who doesn't run away screaming when scared, but confronts the monsters.

It's nice to have someone write a couture character for you.

It's nice to play a character who's written as a mixed race character and is not a drug addict.

It's not a pretty face, I grant you. But underneath its flabby exterior is an enormous lack of character.

It's not as if the stories merge to a point where you think they are your life, but you do let them in the front door and the back door, and it's okay that sometimes certain characters stay for dinner.

It's not a character flaw to become an adult.

Its not a story in which the characters grow up, but a story in which they draw on something already inside them, brought out by the particular circumstances. I want my young friends to live like that, and I think they, too, have such a wish.

It's not enough to hit the notes. There is no point in the singers just standing there and sounding wonderful if they're not connecting with the characters they are portraying.

It's not enough to picture their outward appearance. Give them a background and sphere of influence.

It's not enough to have values without vision ; you want to be good, but you want to be good for something. On the other hand, vision without values can create a Hitler . An empowering mission statement deals with both character and competence; what you want to be and what you want to do in your life.

It's not like I don't want to play the guy next door. But sometimes they're not the best written or the most complicated. But I am very, very particular about my bad boys. There are certain types of characters I will not play. I've said no so many times to so many parts that are just way too dark. You have to be careful.

It's not hard to read about death abstractly. I do find it tough when a character I love dies, of course. You can truly miss characters. Not like you miss people, but you can still miss them.

It's not most important to communicate myself on stage as it is to be as funny or interesting as I possibly can on stage. I feel more like I'm doing a play whose main character just happens to share my name.

It's not racism per se but the tyranny of normalcy - no: the tyranny of attractive normalcy. Which leads to loveable white models who are supposed to be playing ordinary, adorably flawed professionals just like you and me with their brilliant minority friends (with vastly less camera time) who are surgeons. But it's not just ethnicity. That narrow vision also extends to, say, things like women leads. Women leads have to be good-hearted and nice, with a Slutty Best Friend. The main character can't be slutty. Because that's not attractively normal etc

It's not so much that I enjoy screenwriting, though mostly I do, but the difference is, with adaptations, somebody else has done the hard part - made up a story, provided the characters.

It's not really a preparation when you know the character that you're playing. It's not too difficult. It would be more difficult the first time, I guess.

It's not success that makes a person's life worthy of legend. It's provocative defeat, someone who struggled mightily and lost. And that loss can't just be gratuitous - there has to be something about his or her character that whittles that loss into something provocative.

It's much easier to conjure characters strictly from your imagination than to have to think about whether you're representing people in a truthful way.

It's much more fun to play something you're nothing like than what you are... It's much easier to hide yourself in a character.

It's never really fun to have to cry in a scene, or anything like that. I just try to put myself in the characters position, and that helps. It's never really fun, but at the same time, if you're having a really bad day, it's a great way to get out all of your frustration by doing a really angry or sad scene. That's always a good release.

It's not that I wrote those details, but photos can give you the confidence that you have a real feel for the landscape. Then you can invent with a solid kind of faith, and recreate a feel and flavor of the time, and, one hopes, a tonality, a sense of that time having been lived by those characters.

It's not that I'm necessarily looking for things that are so dark and emotional. But if I see something where the character goes through enormous change, it's very appealing to play all those levels, and that is probably going to involve some dark moments.

It's not what we eat but what we digest that makes us strong; not what we gain but what we save that makes us rich; not what we read but what we remember that makes us learned; and not what we profess but what we practice that gives us integrity.

It's not the plot [of Valley of Violence] - the plot is the reason to get all these things to happen, all these character moments to happen. It was always meant to have these two perspectives.

It's one of the most liberating things I experience in writing - letting yourself get rid of a gesture or character or plot point that always nagged, even if you couldn't admit to yourself that it did.

It's one of the things that weirdly I always used to like about my job: that expressing the emotions of a writer or someone creative and breathing empathy and life into a character people can then identify with, that they'd feel less alone.