Quotes of All Topics . Occasions . Authors
I am always interested in characters who are in these kinds of transitional moments in their lives, when it's not clear where they're going to end up. It's interesting territory for fiction.
If I have to point to something specific with the way I move my camera, I love to do it with a wide lens. I like to show you as much of the space as I can, even if I'm following a character.
Why has Scandinavia been producing such good thrillers? Maybe because their filmmakers can't afford millions for CGI and must rely on cheaper elements like, you know, stories and characters.
It's fun to act, but for me, it's more fun to actually create the character and act it out knowing that I know everything about this character. That's more fun to me than just reading lines.
We must not allow ourselves to become like the system we oppose. We cannot afford to use methods of which we will be ashamed when we look back, when we say, '...we shouldn't have done that.'
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.
I have been extremely proactive in putting myself up for characters that may have been meant to specifically be Caucasian. You bring an interesting angle to the character that isn't written.
I'm very interested in compassion - compassion for oneself and others. I write about very complicated characters and experiences and try to do it without judging the character or the action.
By manipulating what you hear and how you hear it - and what other things you don't hear - you can not only help tell the story, you can help the audience get into the mind of the character.
I'm a vagabond. I have a suitcase that is ready to go at a moment's notice. The thought of being in one place for a long time, or playing one character for a long time, is terrifying for me.
A lot of your personality is formed before you're 12, obviously, but only a few of my plays use characters from my childhood. The more mature plays are affected only by my adult experiences.
In my books, women often solve the problem. Even if the woman is not the hero, she's a strong character. She does change the plot. She'll often rescue the male character from some situation.
Plot, rules, nor even poetry, are not half so great beauties in tragedy or comedy as a just imitation of nature, of character, of the passions and their operations in diversified situations.
I think the love scenes are very powerful and they're not trying to simply show the bodies of the actors but trying to reflect the inner feelings of the character so it's easier in that way.
I'm in four different films this year, and I have four different accents. I sound different in every film. You have to love a character to play it well, and change in my work is what I want.
Pigmentation was a quick and convenient way of judging a person. One of us, Dr. Martin Luther King, Jr., once proposed we instead judge people by the content of their character. He was shot.
The film [Close Up] made itself, to a large extent. The characters involved were very real, I wasn't directing the actors so much as being directed by them. So it was a very particular film.
It's the demand in many ways of modern television drama - it's very low key and naturalistic, and, generally speaking, the characters that I've played have not been low key and naturalistic.
I am often tired of myself, and I have a notion that by travel I can add to my personality, and so change myself a little. I do not bring back from a journey quite the same self that I took.
There are such things as consecrated griefs, sorrows that may be common to everyone but which take on a special character when accepted intelligently and offered to God in loving submission.
I didn't need clothes. I was allowed the opportunity to act out moments you don't get the opportunity to experience in your own life, let alone as a character in a film. I didn't feel naked.
I don't mind playing older characters. I find it interesting. There are parts I couldn't have got when I was 30 years old. So, it continues to interest me in the same way that it always did.
Security of character would be like a compass, you know? Other people may say that this way is north, or this way might be north. But the compass just says -- north. That's what we count on.
You cannot build character and courage by taking away people's initiative and independence. You cannot help people permanently by doing for them what they could and should do for themselves.
Laws are essential emanations from the self-poised character of God; they radiate from the sun to the circling edge of creation. Verily, the mighty Lawgiver hath subjected himself unto laws.
I wouldn't want to play a character that knew everything and knew where to go. It is much more interesting playing a character that is vulnerable trying to be strong. It makes for better TV.
I've written original material before, where I've come up with the idea and the characters myself, and that's definitely very different to working with someone else's characters and stories.
In '7th Heaven,' more than 'Teen Wolf,' was that I got to learn more about my character. In 'Teen Wolf,' I'd always get a new arc for that character every season, which was discovery for me.
Shakespeare's plays often turn on the idea of fate, as much drama does. What makes them so tragic is the gap between what his characters might like to accomplish and what fate provides them.
I like making stories and characters that people can relate to. I also like giving the audience a departure from whatever they're thinking about in their life and enjoying a show or a movie.
I make hip-hop, but use Doom as a character to convey stories that a normal dude can't. You have writers that write about crazy characters, but that doesn't mean the writer himself is crazy.
Knowledge is essential to conquest; only according to our ignorance are we helpless. Thought creates character. Character can dominate conditions. Will creates circumstances and environment.
The only way you can truly get to know an author is through the trail of ink he leaves behind him. The person you think you see is only an empty character: truth is always hidden in fiction.
The house, while sound in wind and limb, was described as being of 'no character.' We didn't think then that it had anything but character, rather sinister perhaps, but definitely character.
I play characters who are comfortable naked, but that's something you work up to. I did a play off-Broadway in New York when I was in college. It was full-frontal nudity. It's nerve-racking.
What the tender and poetic youth dreams to-day, and conjures up with inarticulate speech, is to-morrow the vociferated result of public opinion, and the day after is the character of nations.
If you do a scene and you really like a character in it or a premise in it to write it down and to work on it so that you can have five or six characters that you can pull out in an audition.
I definitely think the formula to making my character seem sweet is to let him act like a jerk, give him a redeeming moment, and have a sweet song playing over the background when it happens.
I don't worry so much about the audience. I want them very much to be involved and enjoy the movie, but I try to just inhabit the character in a full way, where I can create a personal stake.
Also, I'd like to play an athlete again, while I'm still physically fit, or a musician, like Nat King Cole, because I play the trumpet and sing. I'd like to incorporate that into a character.
Man could not live if he were entirely impervious to sadness. Many sorrows can be endured only by being embraced, and the pleasure taken in them naturally has a somewhat melancholy character.
There are lots of big books that have gay characters - or, more commonly, a gay character - in secondary roles, but seldom are their lives, and especially their sexual lives, on center stage.
I'm a gay man who came from the last years of illegality. That focused my whole character. I think it focused everyone's character in a way. You saw yourself as outside of the main structure.
No matter what we say, entertainers are usually quite insecure, wobbly characters underneath, and maybe that bit of glory or that bit of expression or whatever it is compensates in some area.
By sharing an experience, or creating an experience that we all go through where the character survives - though not easily, I always say that it's victory at a price - does give people hope.
I think audiences definitely respond to people who are not living the perfect lives. The flawed characters, the people who are struggling. The antiheroes - people like to see that a lot more.
It is scary for an actor when you get hired as a lead. No matter what the plot is, it is your job to do something interesting enough to make them want to get inside the lead character's head.
The way I prepare is through script analysts and back story. I create back story for a character based on script analysts, filling in as many details as possible. I also do a lot of research.
The great end of all religionis to purify our hearts--and conquer our passions--and in a word, to make us wiser and better men--better neighbours--better citizens--and better servants of GOD.
I've just looked for ideas and great characters that I relate to and that I think I can offer something to the audience, and I no longer look at them as experiments or genre exercises at all.