Quotes of All Topics . Occasions . Authors
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 can take charge, kick ass, do whatever you have to do and it's okay. You can blow people up. These are things that are okay for cartoon characters to do.
Science, almost from its beginnings, has been truly international in character. National prejudices disappear completely in the scientist's search for truth.
We live in stories. What we are is stories. We do things because of what is called character, and our character is formed by the stories we learn to live in.
I call myself a character actor all my life. I've done a certain amount as a leading man, but character actors in my estimation - it's a lost art these days.
Character, courage, industry and perseverance are the four pillars on which the whole edifice of human life can be built and failure is a word unknown to me.
When you play a character that's someone real, when you're playing a true story, it's really great, 'cause you're not pretending to make up some silly thing.
Wolverine was created in the '60s, but he feels like a '70s character in every way. More Dirty Harry, more politically incorrect, the hair, the mutton chops.
From a sequence of these individual patterns, whole buildings with the character of nature will form themselves within your thoughts, as easily as sentences.
Normally you read a screenplay - and I read a lot of them - and the characters don't feel like people. They feel like plot devices or cliches or stereotypes.
Redemption is something you have to fight for in a very personal, down-dirty way. Some of our characters lose that, some stray from that, and some regain it.
Politics and self-interest have been so uniformly connected, that the world, from being so often deceived, has a right to be suspicious of public characters.
Melissa [ Rosenberg] really has mastered coming from character. Everything radiates from the characters in this work. You don't feel like anything's imposed.
A time is marked not so much by ideas that are argued about as by ideas that are taken for granted. The character of an era hangs upon what needs no defense.
Being able to improvise is the basis for creating all characters and situations, for everything to do with performing, really. And it's good therapy as well.
The minute I ever start thinking about what a character would do is the minute I bring my ego into play. It's the minute I'm putting a judgment on something.
You don't need a dead father to explain a character's sadness. And impressing yourself with wit/cleverness often feels like what it is - authorial intrusion.
I want to bring softness and refinement to an urban, feminine wardrobe and to help the woman show her character and individuality through her unique clothes.
We will have to repent in this generation not merely for the vitriolic words and actions of the bad people, but for the appalling silence of the good people.
I'll look at the script and I'll try to find as many books, movies, and pieces of music that I think are going to feed each scene or the character as a whole
With 'Taxi Driver,' I had this eureka moment. I realized that acting could be much more than what I had been doing. I had to build a character that wasn't me.
I know that some people work differently, but I have to work from the inside out. It doesn't matter how big the character is, there has to be a truthful core.
For character, to prepare for the inevitable I recommend selections from [Ralph Waldo] Emerson. His writings have done for me far more than all other reading.
I prefer to channel my problems and inner demons through a character. Another persona. That protects me and my family. I can get my frustrations out that way.
Texas is just so rich with characters. Women who live alone in a little house on a thousand acres with nothing but cattle and a pickup truck. And an airplane.
There's immense fun to be had as long as you can sort of sneak it past DC. I have been told on occasion that I need to have more respect for these characters.
"I know quite enough of myself," said Bella, with a charming air of being inclined to give herself up as a bad job, "and I don't improve upon acquaintance..."
I don't keep anything on paper (except within an actual novel in progress, at which point I need a file to keep track of plot threads, characters, and so on).
What justifies a character singing one idea for 3 minutes on the screen? I get impatient and want the story to carry on. I don't get impatient in the theatre.
There's a lot of romanticisation of the intuitive actor and method acting and all kinds of notions about getting inside a character and coming out from there.
Luck was something you either earned or invented through strength of character. You had to come by it honestly; you could not trick or bluff your way into it.
When you play a character, you bring yourself into the character. You get a chance to shine and show your translation for the character and her state of mind.
The good polis is made by the good person, his moral character intact, and the good polis, in turn, helps turn out good persons, their moral character intact.
I do tend to gravitate to the more dramatic side of things. I love feeling intense emotions when I'm acting. I just love characters and stories with conflict.
I don't act in the way other actresses act, in terms of building or creating a character. I don't transform myself into the role, I invest myself in the role.
As far as subject matter, I'd say most of the songs aren't that personal to me. I love making up characters and kind of having fun in a different kind of way.
I just kind of understood it, and I threw my love for others and love for life into the character, and was having a blast. I loved playing Dharma. I loved it!
The magnitude of the atomic weight determines the character of the element, just as the magnitude of the molecule determines the character of a compound body.
If there's a great story and great characters, then I can love a film in any genre, though crime thrillers and sci-fi have a particular soft spot in my heart.
I'm really open to anything that's good. If I read something and it's good, and I like the director, it never really needs to be a specific type of character.
No novel is a clone of any preceding one, though with a background cast of characters and things that has grown to thousands, there are many familiar aspects.
I try to research or make up for myself what happened in any character's life. From when he was born until the first page of the script. I fill in the blanks.
In Buffalo, you can't imagine how much people revere Fred Jackson because of his high character, his community involvement, coming from a Division III school.
In high school, I read 'Silas Marner' and I was very attracted to this character - he was very rundown and he'd just stop, and things would happen around him.
Were not one thing, as human beings, so any character that is written uni-dimensional, thats just a shallow character with shallow writing and shallow acting.
I don't steer towards anything. I steer towards character and truth. If it's funny then so be it. If it's dramatic, so be it. I just steer towards characters.
I never practice before, I never work hours on a script. I just choose my characters and trust them, and after that, it's about the director taking your hand.
The mere holding of slaves, therefore, is a condition having per se nothing of moral character in it, any more than the being a parent, or employer, or ruler.
I imagine them very clearly and then attempt to describe what I can see. Sometimes I draw them for my own amusement! (talking about her characters and scenes)
There are lots of authentic, moving characters in so-called systems novels, just as there are certainly deep structural ideas in some character-driven novels.