Quotes of All Topics . Occasions . Authors
I want to be challenged. Every job I've done so far, every character has been completely different and that's really important to me because I don't want to fall into a stereotypical box.
Also expressionistic filmmaking - making the audience feel like they were inside the characters' heads. And so we create all these different types of techniques to put the audience there.
Mainly, I try not to think about my readers as I write - I just think of my characters and myself - If they're interesting to me, my hope is that they'll be interesting to others as well.
I try to always step up to the plate, be professional, be good at what I'm doing and deliver on the character. In Hollywood, what more can you ask for. You want a consummate professional.
Flaws make us all human, and you're rooting for characters because of those flaws. It's ageless if you're interested in relationships and the way people can or can't relate to each other.
There's not too much Edge in Adam Copeland, but there's a little bit of my sarcasm and my sense of humor, I guess, but I'm not a sleazy, raving maniac like the character of Edge could be.
I want to be careful to not stray too far away from what Batman is to me, but adding that element takes you in some directions that haven't been explored quite as much with the character.
No, I don't have to practice that grunt. You just do it. Once you're in character, you're in character. You don't sit there purposely thinking, Well, I'll grunt here, or I'll groan there.
I love life. I love my friends. I love to eat. Too many things, I love. I am very much an anti-historical character. I am attracted to happy people. Happy people with very grave problems.
Perpetual aiming at wit is a very bad part of conversation. It is done to support a character: it generally fails; it is a sort of insult on the company, and a restraint upon the speaker.
I forgot that every little action of the common day makes or unmakes character, and that therefore what one has done in the secret chamber one has some day to cry aloud on the house-tops.
We are formed by environment and grace, by politics and prayer, by church and conscience. All God's creatures conspire to teach us as well. We stumble. We stutter. We rise. We are lifted.
Once you do a character in Hollywood and people haven't seen you before, they put you in a box and they think that's all that you can do and it's hard to get people to take a risk on you.
It's a bit of an outside-in approach - so often the clothing can reveal so much about a character. It's like part of her superhero costume that she gets to put on and become someone else.
Ownership is not a general feature of our society, determining its character. On the contrary, dependence on a precarious wage at the will of others is the general feature of our society.
The United States grants the favors of the second, third, or fifty-seventh chance, and its citizens remain free to invent for themselves whatever character draws a crowd or pays the rent.
When you have an idea for a story, you want those characters to reach as many people as you can. I think you normally think of prose as a way of doing that. It fits our time, the culture.
When you go to the movie theater and the opening of this movie and you see the kids just cracking up with a character you are giving your voice to, you get goose bumps. It's so beautiful.
When I owned the theater, I had the Glen Miller Orchestra. I had 20 girls singing and dancing. I had a cast of characters. It was a big group production, as well as ushers, ticket takers.
Somebody like Mailer brings to that role everything that he stands for. The types of characters that I gravitate towards, the types of icons, tend to have a heavy physicality in that way.
"My comfort is," said Susan, looking back at Mr. Dombey, "that I have told a piece of truth this day which ought to have been told long before and can't be told too often or too plain..."
A rapid rendering of a landscape represents only one moment of its existence. I prefer, by insisting upon its essential character, to risk losing charm in order to gain greater stability.
Racing is bulging at the seams with pure nutball characters, men who can drink more, screw more, fight more, laugh more, joke more, than practically any collection of people in the world.
Even as a stage performer, I have my garb which is leather jackets and black jeans to make me feel a certain way. The wardrobe is really important to feeling the character you're playing.
It is necessary to the success of flattery, that it be accommodated to particular circumstances or characters, and enter the heart on that side where the passions are ready to receive it.
The great thing about playing a character that's similar to the audience, or similar to you, is that you get to have the same reaction that you would actually have to whatever's going on.
The people "have a right, an indisputable, unalienable, indefeasible, divine right to that most dreaded and envied kind of knowledge- I mean of the character and conduct of their rulers."
I enjoy playing real human beings after playing a lot of larger than life characters. I love playing true to life characters and that is what I intend to do for the majority of my career.
There is no surer or more illuminating way of reading a man's character, and perhaps a little of his past history, than by observing the contexts in which he prefers to use certain words.
Few men realize that their life, the very essence of their character, their capabilities and their audacities, are only the expression of their belief in the safety of their surroundings.
You have to have sympathy for the villain. Even the most disgusting ones, you have to find something to connect with. I try to put as much of myself in every single character that I play.
I have often noticed that after I had bestowed on the characters of my novels some treasured item of my past, it would pine away in the artificial world where I had so abruptly placed it.
A creative person has to be alive. He can't borrow from things he's done in the past. He can't let his method choose his subjects or his characters. They can't be warped to fit his style.
I think the tragic feeling is invoked in us when we are in the presence of a character who is ready to lay down his life, if need be, to secure one thing -- his sense of personal dignity.
I do find it sometimes that people project their own feelings on to the characters and I think that there is a certain amount of sexism - I mean the proprietary nature, for men and women.
When hypocrisy is a character trait, it also affects one's thinking, because it consists in the negation of all the aspects of reality that one finds disagreeable, irrational or repugnant.
I enjoy creating and developing characters, as well as situations. But I have always had more ideas than I can ever put down on paper and fantasy allows me to include a lot of what I feel.
Humanizing good people is kind of boring and I don't really see the value in it... humanizing tricky characters is exhilarating, and making audience films out of indie subjects excites me.
Whatever capacities there may be for enjoyment or for suffering in this strange being of ours, and God only knows what they are, they will be drawn out wholly in accordance with character.
I don't see any difference in the craft of acting, in film or television. It's absolutely the same. It's different storytelling, playing a character over multiple hours, as opposed to two.
I was thinking what I usually think about when I write: what the next word should be, whether my character should be an emu farmer or a wallaby farmer, the searing pain in my right temple.
The first movie [Grown Ups], people loved it and we felt that there were so many characters and so many good comic situations that there was enough material leftover for us to do a sequel.
It's hard to know whether certain characters come to life or not, they either come to have their own life or they don't. I've written many things in which the characters just remain inert.
When you look at all of the male characters on television and in film, it's not like every one of them are the people doing the right thing that you can point to as your own moral compass.
I wouldn't do a film like 'The Dirty Picture.' I have a husband and kids, and I won't be able to do justice to such a role. You need a certain mentality and ease to carry such a character.
I love disappearing. That's what acting is. For me it's about putting on a persona, stepping into a pair of shoes. It's my face, but I'm using it as a tool for that spirit, that character.
The qualities we have do not make us so ridiculous as those which we affect to have. [Fr., On n'est jamais si ridicule par les qualites que l'on a que par celles que l'on affecte d'avoir.]
You do not characterize by telling the reader about the character. You do it by showing the character thinking, speaking and acting in a characteristic way. You simply show it and shut up.
In a militia, the character of the laborer, artificer, or tradesman, predominates over that of the soldier: in a standing army, that of the soldier predominates over every other character.
One of the great things about being involved with comics is that those people are devoted to their characters, writers and artists. The average comic reader isn't casual about their habit.