Quotes of All Topics . Occasions . Authors
I did ... learn an important distinction in graduate school: a speculation about who had syphilis when is gossip if it's about your friends, a plot element if it's about a character in a novel, and scholarship if it's about John Keats.
We always knew that we wanted to keep Atlantis off for a while and when it did show up, to make it a big story. The goal for Aquaman was to position him as an A-list character; position him as an important member of the Justice League.
When you have a show that's called Jessica Jones, if Jessica Jones isn't in a scene the rest of it become almost irrelevant until you earn other character storylines. You've got to flesh out those characters enough that you can travel.
I think people do get better as the movies go on sometimes, and I'm always happy that we're shooting out of order, so it's kind of scattered throughout the movie, and there isn't like a clear build in everyone finding their characters.
As a football player, you're really an actor. I spent all Sunday getting into character. Sunday at 10 a.m., I have to be upset with someone who didn't do anything to me. By 11 a.m. I have to be angry. And by noon, I have to be furious.
I still have a hard time saying who Johnny [ Cash ] is in one sentence. He seemed so contradictory in his actions, and I think that's probably what is most fascinating about him and what made him such an interesting character to study.
After appearing for eight seasons as a beloved character on 'Supernatural,' it's not surprising that I get most of my recognition on the street from that, and it happens with some frequency. But I'm not a guy who gets recognized often.
The measure of human character is our reaction to dark times. No one can sidestep darkness. It is the throne upon which light sits. If a soul has not known sadness and struggle, there is no chance of overcoming, no cherishing the dawn.
You know, he would go and look at different funny books because he wanted his character to be different and make different faces. I saw a funny book in his room and it looked like the same character he was playing. It was about a duck.
If you understand your character and feel like it's a collaborative process, you're more inclined to dive into the deep end and fight for your character and feel passionate about your character, and that passion comes across on screen.
I think fatalism and redemption are themes that help a reader organize and eventually "own" a story or character. Writing them, I just want them to be real, and in reality I don't think events are thematic until in retrospect, if ever.
For me, as an actor, the most challenging thing is creating the character in the beginning because you have to write their backstory. The easy part about doing a sequel is that you've done the film, so you already know their backstory.
It's great to have the chance to play a character before he goes to the dark side, or the yellow side if you will. Normally, you don't get that opportunity. The narrative of a movie usually demands that you are that guy from the start.
Through this experience [of makimg movies], I recognized what an extraordinary set of personality traits it takes to be able to succeed in that world, and I was really drawn to the character work we could build with actors as a result.
It's very hard to take a character out of nothing, and put a hook on it, especially because it's only sonic. Futurama is a sonic world, and everyone's attention is focused on that sound and that little cartoon image. You can change it.
I concentrate on character, theme, language, structure, voice. It actually surprises me that no matter what I write, people declare it "intently political." I'm just writing about the world I know, as it is. Wounds and griefs included.
The interesting thing about fiction from a writer's standpoint is that the characters come to life within you. And yet who are they and where are they? They seem to have as much or more vitality and complexity as the people around you.
Man, having an ideal before him of that which he ought to be, and is not, and acting as though he possessed the character he ought to have, but has not, comes, by the very virtue of his aspiration, to possess the character he imagines.
I mean PJ - James Ransone - he was a friend of mine, he probably heard all this stuff, but for the rest of the cast [Valley of Violence], we mostly just talked about their characters and things like that. That was the business at hand.
What I look for is identifying what the utility of a character is to the telling of the story overall. If I can identify that from reading the script, then I've got a clear idea of whether or not I think the character is worth playing.
Ulysses ... is a dogged attempt to cover the universe with mud, an inverted Victorianism, an attempt to make crossness and dirt succeed where sweetness and light failed, a simplification of the human character in the interests of Hell.
As a former Airman First Class in the United States Air Force, like many veterans in America, my military experience played an important part in instilling in me a sense of character and discipline that has served me throughout my life.
There are certainly times when my own everyday life seems to retreat so the life of the story can take me over. That is why a writer often needs space and time, so that he or she can abandon ordinary life and "live" with the characters.
Normally you don't have the benefit of preparing someone to pay homage to you and what you've done in your life. Usually, you pass away and someone does a tribute to your character and who you were during a specific period of your life.
True greatness is not measured by the headlines a person commands or the wealth he or she accumulates. The inner character of a person-the undergirding moral and spiritual values and commitments-is the true measure of lasting greatness.
I get to actually experience what it would be like to be a psycho, which is not a fun one, or to be a cowboy, or to be a weird character of some sort. For me, it suits me. It suits my personality. I'm an emotional kind of person anyway.
I wasn't a very outgoing child. I read a lot of books and the characters in each of the books became like imaginary friends - I immersed myself in the different worlds. I always hated finishing books that I really loved for that reason.
Footballing qualities can be developed, but Stoichkov is a player with character and inborn talent. I've seen him produce fantastic plays even from impossible situations... I couldn't believe it, when I heard that I used to be his idol.
I always tell people that, if you feel like you're portraying a character really well, you're not acting. If you can reach that point where you don't feel like you're acting, than you're doing your job and the audience will believe you.
I feel that we should try and understand how we as women storytellers have often fallen into the mode of telling stories in the ways in which traditionally men would. I often find that my points of view are expressed by male characters.
Could I see him acting as Warren Beatty directed, and what would that be like? When you see him as those characters, once you get to know him, there is so much of him in them. In fact, I saw so much of him in them that it made me laugh.
There is need of a sound body, and even more need of a sound mind. But above mind and above body stands character-the sum of those qualities which we mean when we speak of a man's force and courage, of his good faith and sense of honor.
The acid test of our love for God is obedience to His Word. The greatest ability is dependability. The test of your character is what it takes to stop you. Trust God as if it all depends upon Him, and work as if it all depends upon you.
Sometimes I feel the only way I can get a major publisher interested in mental illness is if I find a character who has bipolar disorder and is also a love-sick vampire attending an English school called Hogwarts. But I'm not giving up.
Once I have a hook I think has potential - enough to spin out more than a hundred thousand words, then I start turning my attention to characters. Who are these people? Why did this thing happen to them? But the hook always comes first.
I didn't know how to explain what I meant; sociopathy wasn't just being emotionally deaf, it was being emotionally mute, too. I felt like the characters on our muted TV, waving their hands and screaming and never saying a word out loud.
I come from a theater background, so I always like to dissect the scene and try to get some hint about what the author was trying to get at. I still look up the meaning of the name of the character to see if there are any clues in that.
I think every character actor at some stage likes to carry a film. It can be extremely liberating to just come in for a scene or two and do your thing. But I find it frustrating if I'm just doing little bits here and there for too long.
I knew who Leonard Nimoy was, and that he embodied what Star Trek meant to all the fans. But it wasn't until I started doing my research for this movie, and started going to fan sites, that I began to fall in love with these characters.
A big part of what I wanted to do with this character was go from when I was a boy and try and develop into a man, really try and play him as a man who is on this search, on a journey of personal, spiritual, political, social discovery.
But if you, as an independent filmmaker or a "serious" filmmaker, think you put more love into your characters than the Russo Brothers do Captain America, or Joss Whedon does the Hulk, or I do a talking raccoon, you are simply mistaken.
If you want to know about the character of somebody in public life, look to see if they have a passion that has animated them throughout their life, whether they were in office or out, whether they were winning elections or losing them.
As men get on in life, they acquire a love for sincerity, and somewhat less solicitude to be lulled or amused. In the progress ofthe character, there is an increasing faith in the moral sentiment, and a decreasing faith in propositions.
David Wain just texted me and asked me if I wanted to do 'Wet Hot.' And I just said, 'Yeah, sure.' And he said, 'You want me to call you and tell you about the character?' And I was like, 'Not really. Just tell me when, and I'll do it.'
But now with technology I could sit down and do a bunch of character drawings and scan them into a computer, and the computer using my exact style could bring it into life, where it would have been edited by various human beings before.
I was so lucky because what I did in 'Thor' was I built the character from the ground up - the foundations of his spirit, really. He was someone who was born with an expectation that he would one day be a king, born with an entitlement.
I've been working straight since 2003, so I might just want to take an improv or theater class. That excites me. I can't wait to do different characters - not necessarily the leading chick who gets the guy, but the weird, freaky cousin.
Plot springs from character... I've always sort of believed that these people inside me- these characters- know who they are and what they're about and what happens, and they need me to help get it down on paper because they don't type.
In theater, you go in-depth with your character, so coming to the States, it was inevitable to dig into the pilots I liked. I knew what characters I was going to be reading for, so I would dissect them and really get involved with them.
Liberal child welfare experts decided that child abuse was not evidence of a moral or character flaw in the abusing parent. Instead, like poverty, crime, and homelessness, child abuse came to be viewed as evidence of a societal failure.