Best 14098 quotes in «character quotes» category

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.

It was a pleasure to have somebody else be the boss. It wouldn't have been nearly as much fun any other way. He's been around and made a lot of movies and he's a great straightforward person to work for. And it was a pleasure to see other people to pick up characters that you've sketched out loosely on paper and make them into something fascinating.

It was a strange season coaching under that new [Alderson] regime. I felt like I was watching the deterioration of the Mets organization. They seemed to have no identity. My concern was that the character of the players they were looking for superseded the talent they brought to the table. Character on a team is important, but you've got to have the horses to win.

It was a testament to the resilience of humanity. Give a man a tree and he will make it into a boat; give him a leaf and he will curve it into a cup and drink water from it; give him a rock and he will make a weapon to protect himself and his family. Give a man a small box and a limit of 140 characters to type into it, and he will adapt it to fight an oppressive dictatorship in the Middle East.

It was a though we’d been living for a year in a dense grove of old trees, a cluster of firs, each with its own rhythm and character, from whom our bodies had drawn not just shelter but perhaps even a kind of guidance as we grew into a family.

It was a very, very intense film for me. I almost lost my mind because there are scenes where I have to kill people, and that energy is absolutely overwhelming. At the same time, as an actor, you never play a character with judgment. It's not my place to judge the fact that she kills people. It's for me to look at her psychology to see what makes her do that.

It was as if Hannah had sprung a leak and her character, usually so meticulous and contained, was spilling all over the place.

It was a very, very intense and long casting process [for The Killing] because we really had to find the right people who could carry the weight of this story, who had the chops and who had the spirit, where they could bring in so much of their own selves to these characters. So, the casting process took many months.

It was character that got us out of bed, commitment that moved us into action, and discipline that enabled us to follow through.

It was clear to me that the White House's solemn atmosphere would not civilize Trump. But the merciless nepotism with which he conducts politics, in which he places himself and his family above the law, I wouldn't have considered that possible. And on top of that there is this reduction of complex political decisions to 140 characters. When it comes to a U.S. president, I consider the reduction of politics to a tweet to be truly dangerous. Trump is a risk to his country and the entire world.

It was fun figuring out the science of the world as much as we wanted to figure out, and then playing fast and loose in other places. Which we do with our show in general. One of the things we love about the BoJack Horseman show is that we can always fall back on, "It's a ridiculous cartoon." And it is! It's a serious, relationship-based grounded character tragedy, but it is also a ridiculous cartoon.

It was fun to talk too much [as Jebediah Woodley], to keep running your mouth whether the other characters want to hear it or not. That's part of what made this guy fun.

It was fun yet challenging to play the dual roles. I'm a really nice guy, and the character [of Dubious] is egocentric and hard-edged, so I had to pull out the negative aspects of me to attribute to the role.

It was hard saying goodbye to the character and harder saying goodbye to the actor. When rumours started going around that Rob Lowe might be leaving I got an email from Josh Malina asking if I'd be interested in an actor who was cheaper and not as good looking. I wrote back, "Always", and that was that.

It was great to do August Rush and have all the challenges of playing that character, especially the American accent for the first time and also playing the guitar and the conducting I had to do.

It was easier to know a character's point of view than it was to figure out what your point of view was.

It was good, and nothing good is truly lost. It stays part of a person, becomes part of their character. So part of you goes everywhere with me. And part of me is yours, forever

It was great fun to do because of the central character. With The Girl in the Spider's Web, the girl is really the central character. She's the whole thing.

It was important to have a similar energy in my performance. To make the character too different would have just been about my ego because it didn't need to be drastically different.

It was interesting to portray a character that was so far removed from today's world, but was also at the forefront of feminism at that time.

It was easy for viewers to identify with our show. The characters were believable.

It was great to have a Republican character as likeable as Alan Alda was in the West Wing. He was one Republican I would probably vote for; he was old school.

It was intimidating to play a deaf character. There's a whole culture in the deaf community and I really wanted to know a lot about that and honor it in the work.

It was new to play a woman who plays with her sincerity, and who is a seductress, a manipulator and a liar! I was able to compose a character as opposed to being very natural, so it was very interesting for me. It was great to realise that I could be this kind of real woman!

It was nice to see someone who appreciated her for her character, no matter how disgusted Christian was by the idea of ANYONE dating his aunt. And I actually kind of liked seeing Christian so obviously tormented. It was good for him.

It was kind of scary because working with Woody Allen becomes sort of a big deal in your mind. He directs in that Woody Allen character some of the time - he has these idiosyncrasies that are really charming and funny.

It was like meeting someone out of your dreams, or fantasies, or a beloved character from a favorite book.

It was natural that the direct wielders of the royal prerogative, men who sat in the Star Chamber and the Privy Council, who knew the secrets of the State and the necessity for prompt action, should despise the merely declaratory character of a good deal of Common Law process. To them we doubtless owe those four great pillars of Chancery jurisdiction, the injunction, the decree, the sequestration, and the commission of rebellion.

It wasn't the intention to do something important, or to even relate about social issues. The ground is so fertile in the justice world, dealing with the death penalty and the Innocence Project, for characters that have a moral ambiguity, which we were both attracted to. It's the idea that everybody has their reasons. Whatever their actions are, whether you agree with them or not, you can understand why they're feeling that way, in terms of racism or even the death penalty.