Best 14098 quotes in «character quotes» category

I came from the stage so it was a different kind of acting, or a different arena of acting, and I just loved to do it as a kid. It's really gratifying to get to create these different characters and to get to create different voices and to get to wear different clothes.

I came to filmmaking as an actor looking for great characters and great opportunities, both of which are kind of hard to come by. It turns out I really love the process. And, it's exciting to be able to take my career by the reigns and make things happen for myself. Hopefully, in doing so, more opportunities will become available to me.

I came from a very avant-garde documentary kind of film making world. I like cinema verité, documentaries. I liked non-story, non-character tone poems. And that's the film making that I was interested in.

I came across awful characters when I got some kind of status and came to Hollywood. Then you have directors trying to sleep with you, assuming that you will do things because of the way you dress.

I came from stage in high school, and on stage you kind of overdo with putting on a character a little bit. Sometimes you become a character and sometimes the character becomes you.

I came on to the film with a very happy-go-lucky attitude which I think my character, Charlie, did when she went into the house. I expected it to be good, and then slowly things started to change for us all.

I can always see something of myself in the characters I play.

I can be really silly, but I never get to do that. I'm always playing on-the-nose characters, professionals - lawyers, a serious news anchor, people with a really focused energy, which can become a cliched type.

I can count all the ways in which being a mother has enriched my understanding of the world, of character, my sense of the future and my attachment to it. I can't imagine what kind of writer I'd be if I didn't have my kids.

I came to realize that my money problems, worries, and shortages largely began and ended with the person in my mirror. I realized also that if I could learn to manage the character I shaved with every morning, I would win with money.

I can create countries just as I can create the actions of my characters. That is why a lot of travel seems to me a waste of time.

I can choose to sit in perpetual sadness, immobilized by the gravity of my loss, or I can choose to rise from the pain and treasure the most precious gift I have-life itself.

I can easily come up with ten really iconic stories/trade paperbacks for Superman, Batman, others... name me ten equally big, iconic Wonder Woman stories. Much harder. That ain't the character's fault, that isn't sexism, that's just not servicing the character.

I can inhabit any character in a way that is difficult to do successfully in a contemporary novel.

I can honestly say Ive never thought for a second about whether a character reflects poorly on any group. All that matters to me is that the character is true to my belief in who he or she is.

I cannot be a character in a bad movie. I can't be.

I cannot be much pleased without an appearance of truth; at least of possibility I wish the history to be natural though the sentiments are refined; and the characters to be probable, though their behaviour is excelling

I cannot conceive why people will always mix up my own character and opinions with those of the imaginary beings which, as a poet, I have the right and liberty to draw.

I cannot tell what I am as much afraid of, as a woman who invariably washes on Monday. It is a kind of key to character; and if her mouth is not puckered and her brow wrinkled, they will be, unless she repents.

I can only show what I have received from the characters. That's what's scary because you're never going to be everyone's taste and you don't want to let people down. But, I can only do what I can do.

I can play characters who sing, but I don't like singing in a nightclub or something. It's not my metier.

I can only play characters that I feel like are real people and in a complete way and in such a whole way that if I fake any aspect of it I will have failed them and literally they're slaughtered.

I can promise to be upright, but not to be without bias. [Ger., Aufrichtig zu sein kann ich versprechen; unparteiisch zu sein aber nicht.]

I can remember the times when I started including humor in novels that were suspenseful. I was told you can't do that because you can't keep the audience in suspense if they're laughing. My attitude was, if the character has a sense of humor, then that makes the character more real because that's how we deal with the vicissitudes of life, we deal with it through humor.

I can see myself wanting to write a historical novel - you don't need to worry about references to reality TV or pop music, you can just get on with the basics of story and character.

I can remember the time I would get my scripts and spent the entire weekend breaking them down and playing with them, and putting a lot of work into them, trying to bring the character to life, and to make interesting choices. It was one of the things to me that told me that I needed to change things up a little bit, because to me, I felt the passion was lacking from some of my performances.

I can see the character in a photograph, in the way a guy stands or holds his hands, the way he buckles his belt. I fantasize a lot looking at photographs. I'm sure that doesn't work for many people.

I can't always pick and choose, but I try very hard to take the roles where they are a bit more human. Sometimes there's a hilarious thing that comes along and it might not be the most interesting character, but I'm just delighted to be able to do something.

I can take my wife out for a lovely evening this Friday, which is a to do. But being a good husband is not an event; it needs to be part of my nature—my character, or who I am.

I can talk endlessly about characters, or why someone did this or that, and what that dynamic and interaction is. I really love it, and I think that actors really respond positively to the fact that I like to talk about that stuff, because I'm not sure that all directors do.

I can't deceive myself out of the bare stark realization that no matter how enthusiastic you are, no matter how sure that character is fate, nothing is real, past or future, when you are alone in your room with the clock ticking loudly into the false cheerful brilliance of the electric light. And if you have no past or future which, after all, is all that the present is made of, why then you may as well dispose of the empty shell of present and commit suicide.

I can't bear shopping. I can choose clothes for my characters, but not for myself. I've got no dress sense. Or I've lost it.

I can't find anything wrong with Ashton Kutcher. I think he's great. It's odd that in America there's a very mixed reaction to him. I think those that have only seen him on 'Punk'd' or 'That 70s Show' get him wrong. There's much more to him than those characters or that persona he plays in those shows.

I can't help but think that it's an unfortunate custom to name children after people who come to sticky ends. Even if they are fictional characters, it doesn't bode well for the poor things. There are too many Judes and Tesses and Clarissas and Cordelias around. If we must name our children after literary figures then we should search out happy ones, although it's true they are much harder to find.

I can tell you it makes a big difference to have a director who is collaborative. What motivates a character in my mind could be completely different from what the director's thinking. You have to have those conversations ahead of time and throughout the process. It affects the performance.

I can tell by my own reaction to it that this book is harmful." But let him only wait and perhaps one day he will admit to himself that this same book has done him a great service by bringing out the hidden sickness of his heart and making it visible.— Altered opinions do not alter a man’s character (or do so very little); but they do illuminate individual aspects of the constellation of his personality which with a different constellation of opinions had hitherto remained dark and unrecognizable.

I can tell you that as a writer and as a reader, I regard character as king. Or queen. No matter how riveting the action or interesting the plot twists, if I don't feel like I'm meeting someone who feels real, I'm not going to be compelled to read further.

I can't help moving my face - reacting - when I watch a movie, because I'm really inhabiting a character. I know this is weird, but it demonstrates what I love about cinema: it allows you to live a different life, to have a different experience, to disappear for two hours. I think it's wonderful.

I can't recall a story that played out exactly as I'd expected it to. That's one of the thrills of journalism - being surprised, and learning new stuff, but it also poses the biggest challenge to a writer's character.

I can't remember. . . . My character was sort of unconscious for it.

I can't judge the characters I play, because it's for the audience to do. What I can try to do is to understand and embody what were they going through? How did they make the decisions they made? That to me is a more interesting way to approach something, rather than saying this person is a villain and that person is this and - because it's not very interesting to play that anyway.

I can't negotiate and collaborate with a character to create a distilled dramatic investigation of the raw material. I need to work with an actor. That stuff about actors who stay in character all the time is nonsense.

I can't remember when I've liked a character as much as I've liked young Lyle Rettew, or when I've cheered one on so hard, despite the fact that he's clearly crazy and his quest is doomed. A thunderous debut, and the beginning of what will surely be a breathtaking career.

I can't play a character that I am judging.

I can't impersonate someone. That is not what I do. I can only take someone's essence and create a character out of that.

I can't not have something attached to like what actually happens in real life. Like I can't do a romantic comedy without there being something where like, in the case of Annie Hathaway's character, her character ends up having Parkinson's, you know? To me, I feel like that's love, you know? Like to me. So every movie has to have that kind of sense of that.

I can't stand it when Lewis Hamilton or anyone else, is made out to be a godlike character. If Lewis was driving for Red Bull I'm sure he would race extremely well, but he'd be battling for points.

I can't tell you why I keep getting asked to play gay characters, but I never really considered 'gay' as an adjective, as a playable thing. Maybe it's an element of the character, but it just describes a preference.

I can't single out one of my books or characters as a favorite. In the same way that I don't have a favorite kidney, my books are organically all part of myself. I might even say that put all together, the books are one ongoing, developing story - which, not coincidentally, happens to be my own lifestory.

I can't imagine how anyone can say: "I'm weak," and then remain so. After all, if you know it, why not fight against it, why not try to train your character? The answer was: "Because it's so much easier not to!