Best 14098 quotes in «character quotes» category

It's very easy to fall in love with every character you play.

It's very difficult to find the time or the money for people to organize rehearsals for some movies. It staggers me how little preparation often goes into these scenes which are difficult and complicated. You think, "God, it's crazy. I've never met this person before and here I am having to work at how to do a whole performance on the set." It was great to have a few days of just talking to Michael [Caine] and Daniel [Barber] and thinking about the characters and the relationship between them before we started shooting.

It's very important to me to find ways to relate the audience to the characters. This is the first thing to go in most mainstream horror films.

It's very hard to play a hyperactive character all the time, I try my best, but I end up collapsing at the end of the day.

It's very hard to take a character out of nothing, and put a hook on it, especially because it's only sonic. Futurama is a sonic world, and everyone's attention is focused on that sound and that little cartoon image. You can change it.

It's very important to keep the emotions grounded, to keep the characters in some real place.

It's very rare that a character comes to mind complete in himself. He needs additional traits that I often pick from actual people. One way you can cover your tracks is to change the sex.

It's very rewarding to see the movie, and it's very rewarding to make the movie, but playing the character [Riddick] is sometimes a lot more difficult than other characters because it takes so much preparation to get into that character.

It's very rare that you get a director that lets you be creative and bring what you feel your character should do or should be.

It's weird. I feel like people assume if a character is very different than you, that means it's difficult to get into their head or into their skin.

It’s wonderful, it’s expressive. It’s a way of using a part of my instrument that I’m comfortable and familiar with. The voice is such a vital part of crafting a character. I’m so pleased that I have the kind of voice that prints well and that people want to hear. I’ve had friends actually say, ‘You know, I was in the kitchen, and the television was on and I heard you.’ I love hearing that there’s something familiar about my sound, and that to some people it’s soothing.

It's very much a character-based play. Conor's writing is almost musical and paints pictures at the same time. It's a joy as an actor to be able to say the words. It's very conversational but at the same time, tells a story.

It's very much an exploration of the human condition and how different people react and respond to their lives. And what they present to the world, in terms of who they are as characters and what is going on behind the mask, in terms of what demons their holding... and how that interacts.

It's weird: I was in a conference room, shouting out story ideas in the voices of different characters, and it was something I had to learn because I'd never been in that atmosphere. But I think I had a quick learning curve, because this is the job I was supposed to have.

It's very rare that you get to play a character over the course of so many films. Bella meant a lot to me and she will always be such a formative event in my career. I grew up with her and she and I have been on this great journey together. I also see many parallels between her evolution and my own because I lived through so many things along the way while playing Bella and having this connection to so many people involved in making the films over the years. It would be impossible for me to separate my world from Bella's.

It's very witty and it's great to see teenage characters have control that way. And you can actually hear about sex and pot and it's okay, it's not completely bad and you can't say that to teenagers.

It's what each of us sows, and how, that gives us character and prestige.

It's why you create characters: so you can argue with yourself.

It takes a strong character for a person to say, 'I can't do it.

It takes character to withstand the rigours of indolence.

It takes courage to have a conscience when you seem to see others getting something tangible out of not bothering to struggle with the morality of a situation. It gets frustrating and demoralizing. This is precisely where character comes in. All throughout history special people have felt compelled to do what they objectively saw as right and good - even in the face of humiliation or rejection or expulsion or torture or death. That is because they believed that certain ideas were more important than individual well-being.

It takes a while to grasp that not all failures are self-imposed, the result of ignorance, carelessness or inexperience. It takes a while to grasp that a garden isn't a testing ground for character and to stop asking, what did I do wrong? Maybe nothing.

It takes a certain kind of mind to narrate, to work through character motivation, to be unforgiving to one's writer-self when it comes down to creating the minutiae of detail. Writing fiction requires stamina, a sense of how people's lives work, how people work toward and against one another and, above all, precision.

It takes many good deeds to build a good reputation, and only one bad one to lose it.

It takes a good deal of character to judge a person by his future instead of his past

It takes about a year to write an opera for me, but not a really a year of writing. I'm touring at the same time, and I'm playing, sometimes doing smaller projects.[The opera] Akhnaten fits in with Gandhi and Einstein, so that forms a trilogy in a way.I picked people who were these kind of larger than life characters, who kind of changed the world they lived in by almost the force of their personality and their inventiveness. People that I think not only do I admire but I think they're admirable people.

It takes character to sit there with all that cash and do nothing. I didn't get to where I am by going after mediocre opportunities.

It takes nine months for a baby to develop, it takes nine months to develop a character.

It took thrift and savings, together with tremendous character and vision, to make our nation what it is today. And it will take thrift and savings, together with constant ingenuity and stamina, to conserve our remaining resources to enable us to continue to be a great nation.

It takes stamina to get up like an athlete every single night, seven to eight performances a week, 20 weeks in a row. And there are many young performers who only learn their craft in the two minute bits it takes to film a scene. You never learn the arc of storytelling, the arc of a character that way.

It takes true strength of character to redefine your limits by pushing past them.

It took me years to learn that character is fate and that no one can be made over.

It took Sydney Pollack a long time to get me to do Tootsie. I asked myself if I wanted to play some frothy, ditzy character after I had just done Frances. Obviously, I'm thrilled that I did.

It took me a long time to film the plastic bag, and then I had to get the cut of the scene right. But if you find it as beautiful as the character does, then suddenly it becomes a different movie, and so did he as a character.

It used to be that people would watch TV shows because they knew the characters would stay the same. Whether it's Archie Bunker or it's Thomas Magnum you watch it because it's like, 'I'm comfortable, this is the same guy.'

It used to be that you had to make female TV characters perfect so no one would be offended by your 'portrayal' of women. Even when I started out on 'The Office' eight years ago, we could write our male characters funny and flawed, but not the women. And now, thankfully, it's completely different.

It was a big deal to me to play characters and feel things and connect to somebody in a fake world.

I turned down the lead role in Wall Street: Money Never Sleeps, because that idiot Oliver Stone didn't think the character should play the alto sax.

It troubles him to consider the powerful currents and fine-tuning that alter fate, the close and distant influences, the accidents of character and circumstance.

It violates right order whenever capital so employs the working or wage-earning classes as to divert business and economic activity entirely to its own arbitrary will and advantage, without any regard to the human dignity of the workers, the social character of economic life, social justice, and the common good.

I turned down all the requests for the rights to the books, for years, mostly because they wanted the rights to the characters, and to turn it into a TV series. This would have allowed them to do anything they wanted with the characters, and that just wasn't an option for me.

It was a challenge to be able to create a character without being able to use one's normal set of expressions. All the rubber and makeup attached to your face left you with only a modest range of facial movements.

It turns up the heat under a narrative when you limit the characters in their movements or their freedoms.

I turn 30 next month, and in my 20s, I've been in this limbo of being too old to play the young lead, and too young to play the 30, 35 - year - old. I've always had an older head on my shoulders because I've hung out with older people. I was in television shows with older actors, and when I was 15, 16, 17, I sat up in hotel lobby bars with older actors until the early hours of the morning hearing them tell stories. I've always been drawn to older characters and I've always struggled to get into the younger roles. It feels good to be finally getting to an age where I'm playing my age.

It used to be embarrassing. In the beginning, because you listen to yourself so much, you think, I must look like an asshole right now - or sound like an asshole. And then, you just get to that point where you've done so many ridiculous, ridiculous things in the booth from screaming, to having orgasms, to whatever your director is asking you to do for this character, you just lose your inhibitions.

It was amazing that during rehearsals, without any of the costume on, the character was there complete. It just happened. Half the time, I didn't know I was doing it.

It was a lot of fun to play a character [in Swiss Army Man] with no inhibitions, and with no knowledge of the world, and who comes into the world kind of like a blank slate. It means there's no template or blueprint for how you need to play certain scenes.

It was a great joy for me to develop a strong female character in the spirit of an Icelandic woman. Icelandic women tend to be very strong and very independent, and I think that came in very handy.

It was an amazing win and testament to the character of the team. From the position we were in it must be one of the greatest comebacks.

It was a nephilim.” “A nephi-what?” asked Hugh, startled. “Isn’t that a character on Sesame Street?” Peter spoke up for the first time.