Quotes of All Topics . Occasions . Authors
Funny to watch these Senators switching back and forth on Prohibition. Politics is a great character builder. You have to take a referendum to see what your convictions are for that day.
The dimensions of video game characters, even when they're scanned from real people, are beefed up with exaggerated proportions in games like Def Jam: Fight for NY to give them more pop.
Remember that no talent, no self-denial, no brains, no character, are required to set up in the fault-finding business. Nothing external can have any power over you unless you permit it.
It's just I hate reading the description 'offbeat' about a character in a script, because I, along with Seth Green, Jamie Kennedy and a few others, have cornered the market on 'offbeat.'
Oblivion is the dark page, whereon Memory writes her light-beam characters, and makes them legible; were it all light, nothing could be read there, any more than if it were all darkness.
I love sport, so I'd love to do more stories if I can that deal with sport maybe. Other characters, actually the real guy is so interesting why would you want to get anyone to play them?
We're always trailing, as far as the amount of roles that are written for us and the films that are being made that have black characters in them. I don't know if that's going to change.
Do the work. Create the character, don't wing it and don't hope for an award or the Red Carpet. At the end of day the people who stay in the line the longest are the people who are good.
Plot exposition that can be gently wound out by the authorial voice and internal monologue of a character in the length of a page has to be delivered in a matter of seconds on the stage.
I don't think anybody says to Coetzee or Dostoyevsky or Kafka, "Your characters aren't likeable." It's not about your character winning a popularity contest. That's not the writer's job.
It's certainly more interesting for me as an actor, but I think it's also more interesting for the audience to see three-dimensional characters, rather than just a bad guy or a good guy.
Once a novel gets going and I know it is viable, I don't then worry about plot or themes. These things will come in almost automatically because the characters are now pulling the story.
As a feminist, I think you never want to have your characters defined by the relationships that they're in, and it did give her a chance to be a sophomore in college without a boyfriend.
The creators of kids' media had no idea they were leaving out that many female characters. They were in utter shock that the worlds they were creating were so bereft of female presences.
Jerry and I always felt that the character was enjoying himself. He was having fun: he wasn't taking himself seriously. It was always a lark for him, as you can see in my early drawings.
I still think of myself as a stage actor. When I do film and television I try to implement what I was taught to do in theatre, to try to stretch into characters that are far from myself.
A first-person voice helps to ensure the uniformity and cohesiveness of the narrative; it gathers unto itself incidents and characters in its unstoppable progress toward the story's end.
If I'm a character, it's a biographical movie. My character is as close to me as possible. As close to being myself as possible. So my character, J. Cole, is very close to Jermaine Cole.
[Lauren Ambrose's] character [in Can't Hardly Wait] feels real and unexaggerated and becomes sort of a heroine archetype. I think that was cool. It wasn't in every one of those comedies.
I'm a big fan of the Harry Potter books, but I'd love to do one where one of the kids dies, or one of the main characters dies. I love for those things to have a little bit more tragedy.
Each instrument has something to say to you. It's got its own character. Each horn has its own character and will say to you certain things. If you violate that, it's almost a sacrilege!
It's not so much that I enjoy screenwriting, though mostly I do, but the difference is, with adaptations, somebody else has done the hard part - made up a story, provided the characters.
By God's design, I believe our hearts and minds are shaped by Story. It's how we learn. It's how we make sense of the world. Characters, situations, moral consequences are all around us.
I think one of the successes of Gladiator is how we manage to turn on a dime the character from one thing to another where you believe he is one thing and he is something very different.
In some roles you do that very hard work where, at some point into rehearsals, where all of a sudden it snaps into place. You feel like the soul of this character is now dwelling in you.
I fancy the character of a poet is in every country the same,--fond of enjoying the present, careless of the future; his conversation that of a man of sense, his actions those of a fool.
I'm not a comic book character. I'm not Indiana Jones or Bond, I'm a flesh and blood guy who is ageing and changing. I don't have to do what I did in '93. I couldn't do it and thank God.
Harrison Ford - one of my favorite actors - has a wonderful sense of character and depth and uniqueness to him, yet he's able to just deliver the lines without putting any English on it.
My problem has been with purely digital films. I feel the danger there is that the kind of short-cuts you end up having to take are the ones that are most telling in the main characters.
Photography has always been about documentary, the depiction of the instant, a moment, sometimes a place. Each project is somehow an experimentation of a specific context or a character.
My character on 'The Good Wife' is a smaller character, and his story arcs are typically season-long, unless it's a big episode for him. His transitions take place over many, many hours.
The bad novelist constructs his characters; he directs them and makes them speak. The true novelist listens to them and watches them act; he hears their voices even before he knows them.
The red lips are - I don't want to call them "armor," but they're the clothes of my character, and I'm in the business of entertainment. Wearing red lipstick helps get me into that world.
It's very rare that a character comes to mind complete in himself. He needs additional traits that I often pick from actual people. One way you can cover your tracks is to change the sex.
Great actors come with depth about how their character sees the world, and they completely defend it. They could defend it in a court of law, down to the reason the patient deserved this.
When I saw the script [of The Man], I saw the character and knew I could do the character. It's a relationship movie, which is also what I love to do. That's what attracts me to projects.
The prince in The Leopard was a very complex character - at times autocratic, rude, strong - at times romantic, good, understanding - and sometimes even stupid, and above all, mysterious.
I'm playing a very strong character, it's the story of the woman Polish Jews out of the Warsaw ghetto. I've just begun my weapons training and the SAS type training that's getting me fit.
A perfect character might be attended with the inconvenience of being envied and hated; and that a benevolent man should allow a few faults in himself, to keep his friends in countenance.
When you're on screen with Mads, there's some real fireworks because your character is his intellectual equal. In a way, maybe your character has an instinct as to who this man really is.
When you're trying to do character work that's different from what people expect from you, you're sort of in territory that is uncharted, and you don't know how it's playing all the time.
Our life evokes our character. You find out more about yourself as you go on. That's why it's good to put yourself in situations that will evoke your higher nature rather than your lower.
The cool thing about doing films and being different characters is that it's new everyday and new every project. So, you're always learning something different and you get to do research.
For me, the attraction of TV is that you continue to get to tell those stories and refine those characters. The other thing is that TV, in the last years, got really, really, really good.
The tenacious character I've possessed since I was a small child propelled me to successfully meet this challenge, and I was able to safely gain acceptance to the university of my choice.
But on stage you're able to just take the character from one point to the end and it's a fluid, organic piece. It's about being completely present all the time, right there in the moment.
Commonplace though it may appear, this doing of one's duty embodies the highest ideal of life and character. There may be nothing heroic about it; but the common lot of men is not heroic.
I don't feel like you can fully find the true character until you're in his wardrobe, on set, and really getting into the scene. And that's when you really find out who your character is.
When 'Yuganiki Okkadu,' the Telugu dubbed version of 'Aayirathil Oruvan,' released, I didn't like dubbing for my character. Someone much older had done it, and it didn't have the flavour.
When I start writing novels, I go into them with a spirit of inquiry, rather than to substantiate prejudices I had in the beginning. If you don't do that, you can't write good characters.