Best 14098 quotes in «character quotes» category

I still like the relationship part of any story. You don't want your character to figure everything out and then at the end of the day, go home and eat soup from a can by herself.

I still recommend reading travel guides as an insight to a travellers perspective on fantasy worlds. Nearly all characters end up travelling at some point, and they have many of the same needs and concerns covered in travel guides.

I still wrestle with the catharsis of acting. I don't end up playing a lot of likable characters, so I find myself living in a lot of unlikable skin. As a result of that I don't always feel good.

I stop and think before I start a new book and ask myself do I really want to spend the next year or two or three with these characters because if I don't, then I shouldn't be writing about them.

I stopped appearing as Dracula in 1972 because in my opinion the presentation of the character had deteriorated to such an extent, particularly bringing him into the contemporary day and age, that it really no longer had any meaning.

I stood willingly and gladly in the characters of everything - other people, trees, clouds. And this is what I learned, that the world's otherness is antidote to confusion - that standing within this otherness - the beauty and the mystery of the world, out in the fields or deep inside books - can re-dignify the worst-stung heart.

I strive for what you do find in Shakespeare's work - that there is a definite humanity and a definite character behind the writing in the sonnets, and it's very real because it's so deeply personal. I try to aspire to that in what I do.

I struggle in these situations not to let my madness govern me, and to let the positive aspects of my character define my life.

I stress character, character, character.

I succeeded on sort of chutzpah and charm. No technique at all, didn't know what I was doing, but it worked and the character suited me.

I studied psychology in school, and the best psychology is in literature. It's so much easier to understand a character than a theory. You can recognize yourself—or other people—in a different way.

I suppose all fictional characters, especially in adventure or heroic fiction, at the end of the day are our dreams about ourselves. And sometimes they can be really revealing.

I supposed this was one reason why people got married, to make a fiction that was tellable. It wasn’t just movies that couldn’t contain the full cast of characters — it was us. We had to winnow life down so we knew where to put our tenderness and attention; and that was a good, sweet thing. But together or alone, we were still embedded in a kaleidoscope, ruthlessly varied and continuous, until the end of the end.

I suppose I look for humor in most situations because it humanizes things; it makes a character much more three-dimensional if there's some kind of humor. Not necessarily laugh-out-loud type of stuff, just a sense that there is a humorous edge to things. I do like that.

I suppose, indeed, that in public life, a man whose political principles have any decided character and who has energy enough to give them effect must always expect to encounter political hostility from those of adverse principles.

I suppose I've got a reputation for playing quite extreme characters and making them quite believable.

I suppose everybody does get attached to characters whether in movies or in stories, but I think that's part of the reason you get involved with literature is because there's somebody that grabs you about it and then you want to figure out why.

I suppose in a way most of my characters are non-consumers, not terribly interested in all the little baubles and artifacts of contemporary life.

I suppose the longer anyone spends on earth, the closer we all get to becoming superfluous characters.

I suppose the reason why I like acting is because I'm curious about human nature, and the less I know about a character on the page, instinctively, in a way, the better.

I suppose with any good writing and interesting characters, you can have that awfully overused word [...] - a jouuuuuurney.

I suppose that when I'm building a character, it's usually related to what their family is like and who their parents are, as well as how I grew up - that nurture side.

I surprised myself, that I was in the tissue of the character enough, that I could actually come up with something that I didn't actually feel or didn't believe.

I suppose that the sympathetic/unsympathetic debate about characters sometimes feels to me like a misstatement of purpose. I always think of truly complex characters are falling between the cracks in that debate.

I suppose meeting people whether it's in real life and actually shaking their flesh and blood hand or shaking the mystical hand of the character all rub off on you in some way.

I suppose with any character that you play you always bring your personal experience to it. You always bring people that you know or that you've met and sort of - this is what I do, I mean, I don't know what anyone else does - but people that you know or that you've met that have affected you in certain ways, you bring into it.

I surrounded myself with people who indulged my ego. They treated me as though I was Ziggy Stardust or one of my characters, never realising that David Jones might be behind it.

I suppose that literature as it is won't die, science fiction included. But games are becoming an extremely important part of the science fiction world, including games that are adapted from books (or vice versa: books that are adapted from games). It's wonderful to have the opportunity to play and see your favorite characters on the screen, but the opportunity to read a book does not become less attractive.

I suspect that the theme, the nature of the characters, and the method of getting from the beginning of the play to the end is already established in the unconscious.

I take great pride in the artistic development of cartoons. Our characters are made to go through emotions.

I take great responsibility in any character that I play.

I take it as a man's duty to restrain himself.

"I take my leave of you, Mr. Creakle, and all of you," said Mr. Mell, glancing round the room, and again patting me gently on the shoulders. "James Steerforth, the best wish I can leave you is that you may come to be ashamed of what you have done today. At present I would prefer to see you anything rather than a friend, to me, or to anyone in whom I feel an interest.

I take my time to get into the mindset of the character and say my lines. I really have to be the person that I am playing.

I take things on a day to day basis when it gets really hectic. But I do think long term and I'm looking forward to the next couple of years when I do start producing my own films with my production company and playing some characters that are older and that's really exciting to me.

I talked with Quentin about where the character came from, and he told me Kansas City. I don't know how somebody talks from Kansas City, so I made him from New York.

I take the sexy girl parts and try to give them something else and make them a character.

I talk about Breaking Bad being the most brilliant show ever, and even minor characters have subtle nuances and are fully drawn.

I talk to myself on paper about my characters - sometimes writing in first person... I keep lists of unanswered questions that I can always turn to in order to get myself going.

It allows you to say things that sound very dramatic and get away with it. If you had characters in modern fiction say the same things as they're driving down the street in an Oldsmobile they'd sound ludicrous!

It amazes me that filmmakers will still film, and audiences will still watch, relationships so bankrupt of human feeling that the characters could be reading dialogue written by a computer.

It begins with a character, usually, and once he stands up on his feet and begins to move, all I can do is trot along behind him with a paper and pencil trying to keep up long enough to put down what he says and does.

It behooves every man to see that his influence is on the side of justice, and let the courts make their own characters.

It always helps me connect with characters, to think about what music they respond to

It always seems that the generation below you is getting worse, which is why I had the worst character in the film Adulthood that said it. I don't remember speaking to my elders like that, because you never remember... actually our generation was quite bad because everyone else always seems worse.

It can sometimes make people fold into themselves and kind of run away, but I think in this case these characters are being forced to face issues and emotions, feelings, that they have. So it kind of forces them to face it head on, which I think is a really interesting dynamic. And I think it should be interesting and probably a good thing for the relationship.

It could be a great script but the director is not the right person for me to work for at this time. So there are a lot of elements that come into play and a lot of variables, but more than anything it's got to be a great script and a great character.

It can be annoying not to know who you are, where you came from, or what you're doing. To try to create a character without a whole lot of information can be taxing.

It can be a simple sentence that makes one single point and you build for that. You zero in on one moment that gets that character, you go for it, that's it, man, and if you fail the whole thing is down the drain, but if you make it you hit the moon.

It can be difficult to be subtle and not cartoony in prosthetics. But when you see characters like Bubbles and Desiree from 'Little Britain' on screen, it makes all the hard work worth it. It's such fun watching those transformations.