Best 14098 quotes in «character quotes» category

It will be very hard to get out of Bond. It will be the pictures I do between Bonds that will color my career, that will give my career longevity after this franchise is over ... I will be stamped with this character for life.

It would be nice to say the rich people, the fancy people, all behaved like bastards and the poor slobs all came through like heroes. But as a matter of fact, sometimes the poor slobs behave like slobs and the great, noble, privileged characters come off very well, indeed.

It would need someone very remarkable to recover your name, Stephen, someone of rare perspicacity, with extraordinary talents and incomparable nobility of character. Me, in fact.

I type even faster than I talk. I'm very proud of that. I type so fast. And I have to because the characters are living in real time and I've got to keep up with them. It's a miracle they even give me a royalty.

It would be kind of ill to see Rachel McAdams win an Oscar [for Spotlight] - I don't think people give her credit for her range, she started in a kind of character with younger demographic-aged films and really made a push to be taken more seriously and got a lot of opportunities and knocked it out the park. But I feel like Jennifer Jason Leigh deserves one, maybe not just for Hateful Eight but for [Anomalisa] and everything. Like, I tried to watch Adaption again, that's rough!

It would seem that if despotism were to be established among the democratic nations of our days, it might assume a different character; it would be more extensive and more mild; it would degrade men without tormenting them. I do not question that, in an age of instruction and equality like our own, sovereigns might more easily succeed in collecting all political power into their own hands and might interfere more habitually and decidedly with the circle of private interests than any sovereign of antiquity could ever do.

It would have shown people that I was prepared to do that kind of work, although I find myself in a position now where I don't really need to and I could pick and choose the kind of characters I'd like to do.

I understand why creative people like dark, but American audiences dont like dark. They like story. They do not respond to nervous breakdowns and unhappy episodes that lead nowhere. They like their characters to be a part of the action. They like strength, not weakness, a chance to work out any dilemma.

I understand that I may make mistakes with characters who don't share my own background, but I commit to doing my best.

I understand pain very well, so I look for that in a role. If the characters are well-written, don't tell nobody, but I'll do the damn thing for free. I'm serious. It's the writing. I love beautifully flawed characters.

I understood, through rehab, things about creating characters. I understood that creating whole people means knowing where we come from, how we can make a mistake and how we overcome things to make ourselves stronger.

I used my daughter's crayons for each main character. One end of the wallpaper was the beginning of the story, and the other end was the end, and then there was all that middle part, which was the middle.

I used to be a lawyer, but now I am a reformed character.

I used to be surprised and a little annoyed when characters would reappear in my mind, itching to be in another story. Now I realize it's part of the deal, that you create these people out of thin air but then, if you do it right, they actually live.

I used to be a huge fan of Heavy Metal magazine growing up, and I was exposed to Cobalt there and fell in love with the character and the world. I've tried to track it down and pursue it myself to make a movie out of it. Also I felt like the thing that's cool about Cobalt is it does have a culty kind of underground quality to it that I really like.

I used to do little sketches into my cassette tape recorder when I was a little boy. I would just turn it on and just start doing voices and characters. I just loved it.

I used to need the character but as I've gotten older I need it less and less - I prefer to play some version of myself. To approach any acting job as me just being me.

I used to use cigarettes to indicate somebody's an outsider a lot. It gave character a seedy, disreputable, almost suicidal quality. Now cigarettes are so unused - - you can't have anybody indoors smoking. If you drew that in a restaurant, you'd have to have a panel where the manager comes over and kicks them out. Unless it's set in Europe, you can't really do that. Characters who smoke - - it dates comics, somehow.

I used to search and search for that actor or actress who's exactly what's in my head. But you have to realize you have to cast whoever's super talented and super funny, and then the character has to become at least partially theirs.

I used to think that God's gifts were on shelves one above the other and that the taller we grew in Christian character, the more easily we should reach them. I find now that God's gifts are on shelves one beneath the other and that is not a question of growing taller, but of stooping lower and that we have to go down, always down to get His best ones.

I used to watch dailies and felt I had to keep on top of the character, but I don't feel that any more.

I use my platform for more than just myself. Art is a reflection of human emotions. To neglect the political is to neglect what essentially is your job of storytelling. I would rather be known for the content of my character than for the project that I did.

I usually base my characters on composites of people I know. One trumpet player in SIDE MAN is really a mix of four different guys I knew growing up. Patsy , the waitress, is a mix of about three different people. I like doing it that way. I start with the characters, as opposed to plot, location, or some visual element. I write more by ear than by eye. I always work on the different sound of each character, trying to make sure each has a specific voice and speech pattern, which some writers could care less about.

I usually play characters that are a lot different than me. I mean, I'm never in a fight in a movie and if I'm in them, I'm usually losing.

I usually focus on the whole group of characters in any given work-in-progress, and as a result they become particularly dear to me as I delve into their innermost motivations and live out their lives.

I usually make up stories for my kids.I like to tell them stories and make up any kind of crazy to involve them in characters. The kind of fairytales I don't like are the ones with happy endings, where there's just good and evil and things are perfect. I think when there's a good story for children it has a moral tale, so that's what I try to teach my kids.

I usually can find a way to do a character to make it real and work. But sometimes it's a struggle sustaining that, because there's such a level of personal involvement and personal, physical, and emotional distraughtness.

I usually read a script from an audience perspective first, and then look more closely at the character only.

I usually always think of characters and sometimes the characters are a little bit invented, so it's nice to give these invented, blurry, personas an actually name. It makes me get closer to them or something like that. But they're not all real, they're weird amalgamations of reality.

I usually start with something that has some energy, like a compressed character or a situation that's wound up like a spring. Then all I have to do is let it go, let its energy carry the story. And that may not turn out to be the beginning of the book.

I use non-fiction work written by Whites in my research. It's indispensable. That wasn't the problem. I said that "The Wire" was a cliché! It's like my writing a series about Jewish life and casting all of the characters as inside traders.

I usually play character parts in Hollywood films.

I've actually always been interested in following a character more long term, but the only place to really do that as an actor is on a TV series.

I've always been attracted to characters with insurmountable odds and obstacles, because innately, however inarticulately I've always believed that my dreams and my desires can command and bend time and space to be the things that I want them to be.

I've also grown as an actor as I've got older in life. I've learnt how to go to work, immerse myself 100 per cent in the character and, at the end of the day, take it all off and go back, get a nice bubble bath, have a nice massage and realise that is not my life. And that feels good.

I've always been accused by my detractors of some sort of moral failure, cowardice, or even lack of humanity by not portraying the human form. I respond that I do better by portraying traces of character and intentions of human volition that no mug or body shot can ever exude.

I've always been asked, "What type of character would you love to play?," and I've always said a pastor.

I've always been attracted to the characters that I didn't know anything about. If you do anything in life with passion and love, then it's worth trying.

I've always been a character actor, although I'm not quite sure what that means. All my scripts are absolutely covered in notes, so any time I say anything - even 'pass the salt' - I have six subtexts, comments on what I really mean when I'm saying that. Maybe that's what gives the impression that I'm saying one thing and thinking something else.

I've always been a fan of [Mary Elizabeth Winstead's]. She gets to do some fun action-y stuff she brings this gritty swashbuckle to. I think there's a lot of movies that have women in peril running away from the scarier things and then end up being saved by a man, so it's great to see this character MacGyver her way out of situations, whether physically MacGyvering away, or mentally MacGyvering a way out of something. I relate to her more than I relate to most leading men in movies.

I've always been a fan of the 19th century novel, of the novel that is plotted, character-driven, and where the passage of time is almost as central to the novel as a major minor character, the passage of time and its effect on the characters in the story.

I've always been drawn to stories and characters facing some sort of struggle against forces beyond our control, be it love, loss, betrayal.

I've always been intrigued with the male characters in novels like 'Pride and Prejudice' such as Mr. Darcy, and this poem is part of a series of poems that explore desire and obsessions. The poems have been sitting in a drawer for a few years, so I decided to dust them off and work on them again since I have not written a new poem in more than three years. I'm not sure anything will become of the series, but at least it gives me something to work on in a period where I feel very uncreative.

I've always been proud of my character and how I live my life. So my regrets are few, and the ones I do have, I'm glad I have.

I've always been drawn to dark, disturbing characters.

I've always been drawn to writing historical characters. The best stories are the ones you find in history.

I've always been very strong minded on character-based fights and character-based action. If you take the character out of the action and you just shoot it as an action sequence, the audience starts to lose connection.

I've always believed since I was a kid that God was gonna allow me to play professional football, to use it as a platform to proclaim and live out the name of Jesus. And, you know, that's the most exciting part about my life because God has done things in me to change my character to benefit the kingdom.

I've always chosen the roles that aren't the direct lead because I like being a very poignant character in the story, rather than being seen in every single seen.

I've always considered myself a character actor. That's the way I was trained, really.