Quotes of All Topics . Occasions . Authors
Growing up, I didn't receive the representation that I wanted so badly. I was always looking out for black characters - black women - that were specifically just about existing and weren't necessarily racialized or were centered around race.
As the new work fills my notebooks, I've come to realize that the characters in my stories were so real because I really did want to get close to people, I really did want to know them. It was just easier to do it on paper, one step removed.
There is no better test of character than when you're tossed into crisis. That's when we see one's true colors shine through. So I try my best to make my characters personally involved in the plot, in a way that stresses them and tests them.
I sometimes think I should like to give up business entirely. The care and worriment attending large business interests are very great, but besides that fact the manner in which motives are impugned and characters assailed is most unpleasant
I like to play unpredictable characters, and I like to be unpredictable in what movie I'll do. I want to skip to work. I don't want to repeat anything. What the future holds, I don't know, but that's what I like. I'll take any risk there is.
It was a long hard bumpy road, but this great country kept me inspired with its beauty, character, and spirit, driving me to keep marching on and devoted to sing about its people and places that make Canada the greatest country in the world.
Worse, the bodies of women, minorities, children, disenfranchised bodies (prisoners, so-called nut cases, etc...) and their truths don't "count" as either present and important in society or worth Pulitzer prizes as characters in literature.
Sometimes I am a different character in different languages. I have different enjoyment from them. Sometimes different answers come out of me. Like, I didnt even know that about me. I get to know myself through different languages, actually.
One particular night I was at the theater. I was not scouting for a project, but I was touched by this play by Évelyne de la Chenelière. I was touched by the character. I thought it was a rich character that could be rich enough for a movie.
I don't worry about being exposed. When I'm writing about myself I think about myself as a character. There is a ton of stuff going on in my life that I don't write about. If I need to write that stuff down, I write about myself in my diary.
Anything that's different from your own realm of experience as a human being, whether it's driving a car or a boat, or using guns, anything that separates you from yourself and leads you more towards this character's existence is a big help.
Most of the time, I get auditions for deaf characters where the scene has them communicating in really convoluted ways, like reading lips from across the room when the other persons back is turned or having other people parrot what they say.
I appreciate the written word and spoken word more, but Atonement sort of established so much of me. It was a character that didn't really speak, and I found that a lot of the roles I was gravitating toward after that were kind of nonverbal.
Out of suffering have emerged the strongest souls; the most massive characters are seamed with scars; martyrs have put on their coronation robes glittering with fire, and through their tears have the sorrowful first seen the gates of Heaven.
Character is money; and according as the man earns or spends the money, money in turn becomes character. As money is the most evident power in the world's uses, so the use that he makes of money is often all that the world knows about a man.
I've been very lucky. All I wanted was to pay the rent. Then these characters took off and suddenly there were Hulk coffee mugs and Iron Man lunchboxes and The Avengers sweatshirts everywhere. Money's okay, but what I really like is working.
Once you land on who you think the character is and what his conflicts are, you have to let that lead you. You have to throw all that other stuff away and not be worried about this epic responsibility, or it will just crush and paralyze you.
I love Los Angeles, and it's been very good to me, but if everyone is running around telling the stories, who's living them? You don't play characters that are celebrities - you play guys who know what to do when their septic tank's blocked.
You have the massive world that was created by Marvel, and then you have these very intimate actors around you. There was as much character work on this as there would be on a little independent film. So, I felt very fortunate in that sense.
I'd like to be the John Wayne of the '90s. Not in terms of being the macho guy, but as a solid male leading character. Making an action-adventure comedy that kids can see with their families is a natural extension of what I did in wrestling.
No man can always be right. So the struggle is to do one's best, to keep the brain and conscience clear, never be swayed by unworthy motives or inconsequential reasons, but to strive to unearth the basic factors involved, then do one's duty.
I love auditioning. Since “The Notebook” and “Wedding Crashers,” I don’t have to audition anymore, and I miss it. You get to show your interpretation of the character. I get nervous when I don’t audition. What if they hate what I want to do?
I'd rather be a Jack-of-all-trades than master of one. If I became an icon, where my whole life was music, I would probably have become a vegetable. I wouldn't be able to have all these talents I have today and be an interesting 'character.'
I myself incline to drift, to accept a lesser situation rather than strive for a greater, and yet, I know that character in life and art is only made by an effort that is quite beyond one's ordinary everyday acceptance of things as they are.
When I did The Fifth Element [1997], it was like, "Oh my goodness, who is this character?" I loved doing Resident Evil, but Resident Evil is Resident Evil with or without me. It's an entity of its own. It's not like Milla made Resident Evil.
I don't take trouble at all to conform a screenplay to my iconography. I don't say, "We can't do that - the audience wouldn't accept it." I try to take the limitations of what is required to play a leading character and then screw with them.
Every word I write is like a drop of my blood. If it's flowed passionately and long, I need time to recover from the emotion spent before I began a new story. My characters are my life. I have to respectfully and carefully move between them.
My mom. She was quite a character. Open-minded. It was a very small town, and she started her own business, manufacturing children's wear. She was very dynamic. Her death was like the umbilical cord being cut. That's when I moved to America.
It is indeed very possible, that the Persons we laugh at may in the main of their Characters be much wiser Men than our selves; but if they would have us laugh at them, they must fall short of us in those Respects which stir up this Passion.
For me, being able to be vulnerable is difficult, but it's just something that I feel comfortable doing. I need to fully understand why, the thought-process behind the character and I have to believe it. That comes from a lot of preparation.
I like to work as much as I can, but I only really have the hiatus to work on other projects. I've kept myself busy recently. I voiced a character in 'Ice Age 4,' which was a lot of fun. I also did another small movie called 'The Scribbler.'
Costume, hair and makeup can tell you instantly, or at least give you a larger perception of who a character is. It's the first impression that you have of the character before they open their mouth, so it really does establish who they are.
The problem I have these days is that women are often cast in a role - as a police officer, for example - and then are invariably perceived by the other characters as succeeding in a man's job, as if they're doing it in spite of being women.
We learn our virtues from our friends who love us; our faults from the enemy who hates us. We cannot easily discover our real character from a friend. He is a mirror, on which the warmth of our breath impedes the clearness of the reflection.
Whenever you have two characters in a book, whether it's a novel or nonfiction, you run the risk that the reader is going to like one more than the other. They're going to read one chapter and say, 'I can't wait to get back to the other guy.
The first glance at History convinces us that the actions of men proceed from their needs, their passions, their characters and talents; and impresses us with the belief that such needs, passions and interests are the sole spring of actions.
We can become great in the eyes of others, but we'll never become successful when we compromise our character and show disloyalty toward friends or teammates. The reverse is also true: No individual or team will become great without loyalty.
Nothing bores me more than books where you read two pages and you know exactly how it's going to come out. I want twists and turns that surprise me, characters that have a difficult time and that I don't know if they're going to live or die.
So often we try to develop Christian character and conduct without taking the time to develop God-centered devotion. We try to please God without taking the time to walk with Him and develop a relationship with Him. This is impossible to do.
The funny thing is you oddly don't really say goodbye to all the characters you've played. There's like a chest of drawers in your head that you can always access. They're always around. I'm not sure if that's healthy. But they're all there.
Everything today is such a massive visual show. It's very rare to get a film where the characters are raw and real - and you can take people back to where they are watching live cinema. With character-driven action. Not visual-driven action.
As you live your values, your sense of identity, integrity, control, and inner-directedness will infuse you with both exhilaration and peace. You will define yourself from within, rather than by people's opinions or by comparisons to others.
I knew that I shouldn’t have, but I did it all the same; and there you have my epitaph, or one of them, because my grave is going to require a monument inscribed on all four sides with rueful mottoes, in small characters, set close together.
I think even the characters that are fundamentally evil and wrong, I want people to really love them. I think that's important to writing believable characters. They don't have to be likable but they have to be loved, at least by the author.
With relish, Thomas More thus sketches Richard's character: He was close and secret, a deep dissembler, lowly of countenance, arrogant of heart, outwardly companionable where he inwardly hated, not hesitating to kiss whom he thought to kill.
If you think you can temper yourself into manliness by sitting here over your books, it is the very silliest fancy that ever tempted a young man to his ruin. You cannot dream yourself into a character; you must hammer and forge yourself one.
I got into [acting] so late because of sports. And then when I was in grad school, I sort of got lulled into basically forgetting I was black, in - meaning that everyone you play at a conservatory, 95 percent of the characters are non-black.
It's rare that I've read a script where I'm like, "Oh, my god, it's hilarious!" All you want is a good skeleton and good characters. Then, you can go, "Okay, I can bring a lot to this. I can improvise and I can create something out of this."
Most obviously it [Doctor Strange] will introduce a new character who will be in play in the universe, but once you have gotten an audience to buy into a new concept then it's fun to keep, to play-off, or spin-off that concept down the line.
I threw my whole life and lived my life in a certain way to make sure that I would never violate any law.. certainly never any criminal laws.. and always maintained that most important to me was my integrity, was my character, were my values.