Best 14098 quotes in «character quotes» category

You're playing a character in a drama who happens to be based on someone who existed. It's never going to 'be' that person, but it's based on someone well-known, and you want to create enough of that person for it not to be a distraction.

You're responsible for your own character to a degree, because when it comes to the final draft of the script, you might say, "Well, I think maybe I could add this here, add that there." But I find that I write just as well for the other characters as I do for myself. I think.

You're right, we both have been working on these films [Kung Fu Panda] forever and we know these characters so well that literally we will react to the same note in the same way. We will have the same answer most of the time.

You're trying to create a screenplay and your screenplay is there to give you a structure, rigidity, situational awareness, who the characters are, what do they want, what's the shape of the thing.

You're trying to play an archetype on one hand and a character on the other, so I felt insanely frustrated, right up until the last shot, and then it ended.

Your face needs to have character if you're an actor - otherwise you're just a face.

You're trying to play someone [Edward Cullen] who's seen by a lot of people as being this perfect thing, but what is that? That doesn't really mean anything. You're trying to play an archetype on one hand and then a character on the other, so I felt insanely frustrated right up until the last shot, and then it ended.

Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right. The film has a privilege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too: sometimes the footage has amazing qualities that you did not expect.

Your illness is not your identity. Your chemistry is not your character.

Your mind has a way of putting limitations on your goals. When you persevere, you develop character. Nobody knows their ceiling.

Your life will have chapters, complete with crazy characters, villains and a plot you can't even imagine as you sit here today. It's a lot like a Scooby Doo episode.

Your personal core values define who you are, and a company's core values ultimately define the company's character and brand. For individuals, character is destiny. For organizations, culture is destiny.

Your outlook upon life, your estimate of yourself, your estimate of your value are largely colored by your environment. Your whole career will be modified, shaped, molded by your surroundings, by the character of the people with whom you come in contact every day.

Your richest veins don't lie nearest the surface.

Your success in investing will depend in part on your character and guts, and in part on your ability to realize at the height of ebullience and the depth of despair alike that this too shall pass.

Your source material is the people you know, not those you don't know, but every character is an extension of the author's own personality.

Your resolve is unquestionable. Your character undeniable. Your history unparalleled. You've inspired us, all the way. You will again today.

Your success stops where your character stops. You can never rise above the limitations of your character.

Your stage persona is usually a version of yourself, to varying degrees. Some folks do a full-on character, so that's different. But most comics do some version of themselves.

Your true character Is most accurately measured by how you treat those who can do 'Nothing' for you

Your work isn't just to learn and say the lines. Your work is to figure out what the chatter in your brain is, that's going on under the lines. It doesn't matter whether you're speaking or not speaking because your mind is working the way your character's mind would work.

You say often you wish a library; here I gif you one; for between these two lids (he meant covers) is many books in one. Read him well, and he will help you much; for the study of character in this book will help you to read it in the world, and paint it with your pen.

You see, among men who are honored with the common appellation ogentleman, many contradictions to that character.

You see? Characters in books do not read books. Oh, they snap them shut when somebody enters a room, or fling them aside in disgust at what they fancy is said within, or hide their faces in one which they pretend to peruse while somebody else lectures them on matters they'd rather not confront. But they do not read them. 'Twould be recursive, rendering each book effectively infinite, so that no single one might be finished without reading them all. This is the infallible message of discovering on which side of the page you are on.

You see, it's really quite simple. A simile is just a mode of comparison employing 'as' and 'like' to reveal the hidden character or essence of whatever we want to describe, and through the use of fancy, association, contrast, extension, or imagination, to enlarge our understanding or perception of human experience and observation.

You say the character [of Leo Bloom] was meek and insecure, and you could've been describing me as well. I was a very shy person in those days, and working with Zero [Mostel], who was bigger than life, helped me grow. Zero was a strong influence on me.

You should at all times be showing a well-motivated character overcoming obstacles in pursuit of a goal.

You should always challenge yourself, as an actor, to find the connection between you and the character.

You seem to think that everyone can save money if they have the character to do it. As a matter of fact, there are innumerable people who have a wide choice between saving and giving their children the best possible opportunities. The decision is usually in favor of the children.

You shoot this and it always has something of yourself - sometimes it's more and sometimes it's less. I think after the shooting it depends on who your character is. You definitely learn something about yourself, or you get to know sides that you knew you had, but you had never activated or triggered in a way that allowed you to let them out. Bad and good, all of this is in all of us. But you definitely meet another side or a quarter or ten percent of yourself that you had an idea of, but never really knew about.

You see so many earnest characters in movies all the time, everyone has a purpose.

You see we adults have learned how to disguise our terrible characters but a child... well, it's like a grotesque drawing of us. They should be neither seen nor heard. And no one must make another one.

You should remember that though another may have more money, beauty, and brains than you, when it comes to the rarer spiritual values such as charity, self-sacrifice, honor, nobility of heart, you have an equal chance with everyone to be the most beloved and honored of all people.

You should think about your character. Know where you are changing, how you will be changed, what cannot be changed back again.

You should not live one way in private, another in public.

You silly Arthur! If you knew anything about...anything, which you don't, you would know that I adore you. Everyone in London knows it except you. It is a public scandal the way I adore you. I have been going about for the last six months telling the whole of society that I adore you. I wonder you consent to have anything to say to me. I have no character left at all. At least, I feel so happy that I am quite sure I have no character left at all.

You should let dialogue get as nearly out of control as you can. Characters should say what they say to each other instead of what they mean to say. The worst purpose of dialogue is to elicit information: "You know why we're out on this space station, Carruthers - to save the universe!

You spend your life training to be an actor, observing people's characteristics so that you can design characters around what you've seen.

You, the actor, must be aware of when you're being funny, but the character you're playing should always be oblivious to the fact.

You start with a generic body, but I think the first wall you hit with portraiture is comprised of history and storytelling and the nature of characters - whether they are historical or coming from literature or documentation. Those are the references we have to people, besides your family, and the intimacy of portraiture is in the specifics of individuals. For me, it came out of doing things about animals.

You take something from your past that you're somewhat ashamed about and you write about it from another character's point of view.

You take what you know, and you put it through your own prism. If I play characters that break down or cry, it's Gary Oldman crying; it's not the character crying.

You this day, gentlemen, assume new characters, enter into new relations, and consequently incur new duties. You have, by the favor of Providence and the attention of your friends, received a public education, the purpose whereof hath been to qualify you the better to serve your Creator and your country.

You try to make characters you care about, and I think realism helps. Even though this is a high concept, the characters have got to be real.

You try to become the character that you're working with. So for me, I try to block out the cameras and try to trick my mind that this is actually happening.

You've either got to find a way to make your continuing characters interesting without making them maudlin or overwrought, or you've got to put more emphasis on the suspects.

You treat characters like people you meet in life-friends or mentors.

You've got all these characters and yet, you're hovering over one character like a fly over a stinky diaper. Realize that you've got a kickass superpower: you can possess and take-over anybody inside the story. With the power of Point-of-View, you can drag us along for the ride. You can shove us into their eyes, their minds, you can force us to piggyback on their experiences past and present. Sometimes untangling a knotted-up tale means looking at it from different eyes: what better eyes than those of the other characters inside the story?

You've got to understand that in Bollywood, every actor is an instrument, and yet a human being. They come to the set with a set agenda, believing, 'This is who I am, this is what I want, and no, I am not going to become that character you want me to.'

You used to have to make a choice. Is it a serialized television show, or is it a stand-alone or procedural? We were wildly influenced by The X-Files. Even when we created Fringe, it was the same thing. It's the gold standard of all gold standards, in genre television, and it was so wonderful because you felt so much for those characters.