Quotes of All Topics . Occasions . Authors
When you have only 10 episodes to do and you know there's so many fun things that you have left unresolved, you have to figure out what happens to all of your supporting characters.
I'm a great believer in the character of the club. To me, character has a lot to do with how you compete. That creates urgency and toughness. That elevates the talent that you have.
Be mild with the mild, shrewd with the crafty, confiding to the honest, rough to the ruffian, and a thunderbolt to the liar. But in all this, never be unmindful of your own dignity.
I think that's something that people feel that I do really well; I don't mind it, because ultimately I think the characters I play move people, and who wouldn't want to move people?
Just don't pretend you know more about your characters than they do, because you don't. Stay open to them. It's teatime and all the dolls are at the table. Listen. It's that simple.
I guarantee you that two directors that are any good can take the same story, change the name of the characters, change the name of the town, and make an entirely different picture.
What gives it its human character is that the individual through language addresses himself in the role of the others in the group and thus becomes aware of them in his own conduct.
Sometimes you need to put your own characteristics into the actor, and you take different things from the character that you admire - sometimes you can't see the boundaries anymore.
My own personal process with movies is to develop the characters with the actors and, when I've done that properly, you can't imagine anyone else, but that actor, playing that part.
Conscious experience as such is an exclusively internal affair: Once all functional properties of your brain are fixed, the character of subjective experience is determined as well.
People without firmness of character love to make up a fate for themselves; that relieves them of the necessity of having their own will and of taking responsibility for themselves.
Movie characters rarely get to think out loud or talk very much about their emotions. Instead they have to, very briefly, show their feelings through their action or through dialog.
In creating the Harry Potter artwork, I try to bring a certain amount of realism and believability to the characters and setting, but still add an element of wonder and the unknown.
[In the Flash my character] is not even CSI, it's forensic, talking about the stratum corneum...Yeah, I was referring to my Latin book often to make sure I pronounce things correct.
I think you can find yourself on one of these shows for a long period of time and think that all you'll ever be able to do is that character. Certainly people think of you that way.
God does not make us holy in the sense of character; He makes us holy in the sense of innocence, and we have to turn that innocence into holy character by a series of moral choices.
On set, the playground for the character, how much it takes varies. Is it like ballet, is it like jazz? The content always lends itself to the form, and it's really not mathematics.
[T]he first transactions of a nation, like those of an individual upon his first entrance into life make the deepest impression, and are to form the leading traits in its character.
When the people you've already worked with are very talented and you know what they can do, if you think of a character that happens to be perfect for them, then you make it happen.
The character I play is a wonderful compilation of things I hate about myself and things I love about myself and things that I've invented to make her even more interesting than me.
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.
Oftentimes, in fact I think this is to my fault, I look at usually scripts as a whole. I should probably pay more attention to the character that I'm going to play and what they do.
Well, I think it can be quite helpful to be working on a character who actually existed, historically. Of course, you might have material to study and help you create the character.
I love this quote uttered by the character Widget in The Night Circus. He credits it to Herr Thiessen but knows it is a literary quote by the another author. "Wine is bottled poetry
I created the characters from what I read in the script. I decided how I should talk, accent, no accent, my own voice, or a created voice. Then, I visualize what I should look like.
To see those two characters [Steve Jobs and Andy Hertzfeld ] juxtaposed against each other shows an interesting dynamic of how gifted people might function differently in the world.
The only thing that walks back from the tomb with the mourners and refuses to be buried is the character of a man. This is true. What a man is, survives him. It can never be buried.
It is quite different, but I love doing a series because you get to live with a character for a much longer amount of time. And the other aspect of it is that you have a steady job.
I'm not interested in playing characters who see the world through my prism. I think the journey of understanding any character is to see how they tick and how they differ from you.
I think once everything is in place, once you've kind of wrapped your head around the story and the character, it's very liberating and you can start doing things like you would do.
Everybody always feels that they're right even if they're wrong and that's what a whole actor's career is built around rationalizing your way into whatever character you're playing.
Agent Mom is a perfect opportunity for me to do what I love... develop characters, act and take incredible stories to my fans. So yes, I can absolutely see myself cast as Agent Mom.
As a biracial girl growing up in England, I'd never really seen any historical characters who looked like me depicted on film before that weren't being brutalized or playing slaves.
I love family. In this movie [Everybody Loves Somebody], my character is a successful OB-GYN and yet she goes back to her teenage years when she's with her parents. Like, that's me.
A lot of times the character's experience is not in accordance with the tone of the movie and it's not really my job to account for the tone of the movie. That's the director's job.
WIDOW, n. A pathetic figure that the Christian world has agreed to take humorously, although Christ's tenderness towards widows was one of the most marked features of his character.
One would think that it would be very easy, with an iconic character like James Bond, to keep making the films, but it hasn't been. But, it sure has been entertaining and rewarding.
When I read books, I actually really love imagining whomever I want to in the character's role. I get such vivid pictures on my own that that is a big part of the experience for me.
When I am kicking around show ideas, or really any idea, usually an image comes to me. I don't really start with a character or a logline like, "What if the electricity turned off?"
It's fun when you start a movie, because it's kind of like you get to go Christmas shopping... you get to make your wish list and you start thinking about what each character needs.
Ninety percent of video game AI really is pretty damn bad. I think that's actually why it's so much fun to shoot things. Because the AI is so bad and the characters are so annoying.
I think when your image becomes so big that it's hard for a viewer to see a character, then I think you're in danger as an actor of being unable to perform what you should be doing.
Remember, the essence of storytelling demands that we place our main characters on a path. A quest with something at stake, with something to do, to achieve, to learn, and to change.
I'm trying to listen to my past, listen to what's most deeply going on inside myself, my creative set of fictional characters, a fictional world - to listen to that world, to search.
When I'm trying to imagine something, I have a few elements, a few ideas, maybe a certain actor or actress I want to create a certain type of character for, or maybe a certain place.
Usually when you start the characters, the first thing is the script. Your design work is about telling the story. It's later that casting comes into play, but it's a huge component.
It's so difficult, particularly with an antisocial character. It's much easier if he's already a blank page, but once you've written on him, it's hard to keep him that stripped down.
Philly is a state of mind I’m always in. The city is truly a character in its own right, and it’s served me well because the people I was exposed to gave me that cultural rootedness.
In most good stories, it is the character's personality that creates the action of the story. If you start with real personality, a real character, then something is bound to happen.