Quotes of All Topics . Occasions . Authors
I'm involved with every single thing that they do as far as just being aware, and then they ask my opinion. I'm involved in the sequence reviews and some of the animation reviews and character designs and things like that. I give my input on that movie as well.
In Michelle Obama attack on Donald Trump, she never mentioned Trump's name, but she made reference to the fact that this is much more important than just responding in 140 characters. And in the process she maligned the whole concept of Twitter, not just Trump.
Every role you play is literally - and I've said this before - every single role that you play, the only way you can connect to that character is because that was a piece of you that was scattered around that yard, almost like we got caught up in some whirlwind
You know, the hard thing about audiences not liking what a character does is that they sometimes take it out on the actor personally. That's something that you know when you become an actor or actress, but it's always hard to deal with when it actually happens.
Everybody is pretty good in the first quarter. Second quarter, you have a little bump or two on you coming into the half. By the time the third quarter comes around, you're tired, you're laboring. When you come to the fourth quarter, it calls on your character.
I entirely agree that a historian ought to be precise in detail; but unless you take all the characters and circumstances into account, you are reckoning without the facts. The proportions and relations of things are just as much facts as the things themselves.
I can easily come up with ten really iconic stories/trade paperbacks for Superman, Batman, others... name me ten equally big, iconic Wonder Woman stories. Much harder. That ain't the character's fault, that isn't sexism, that's just not servicing the character.
If you're writing a book that takes place in New York in the moment, you can't not write about 9-11; you can't not integrate it. My main character's view is the Statue of Liberty and the Trade Center. It doesn't have to take over, but it has to be acknowledged.
I'm an actor and I've created a lasting and memorable character named Frasier, who is not me, but who most people think is. So when I have a chance to play something that's different, I embrace it because it's fun; also in this case, he's a memorable character.
For me it's always about first impressions. I trust my instincts. I love to prepare if it's something that requires training. But I don't like to prepare the psychology too much. I enjoy the psychology of the character but I work better from a first impression.
I liked the idea that my character was not gonna be the typical dumb guy that I play, typically. I also loved the fact that it was dealing with kind of adult-extended adolescence, which I think is always interesting - a bunch of people that don't wanna grow up.
I think Nelly [Ternan] actually has something very conservative about her, and she's very judgmental of (this other character's) situation, and can see that's about to happen to herself. So she judges it even more harshly [because] it's what she fears becoming.
I like the sensibility of Australian film a lot and the crews are fantastic. Great characters, wonderful people and no line between - I think in Hollywood they have this line between actors and crew a lot, and that just didn't exist, which I really appreciated.
These two opposed forms of social organization, the modern state and the market, have evolved together through recent centuries, and their mutual interactions have become increasingly crucial to the character and dynamics of international relations in our world.
Action films are great, but an action film that has characters that are compelling and a story that people can care about is something even better. We love to see action heroes that are vulnerable, that are sensitive, that are family people, that are accessible.
My stuff is generally quite collage-y anyway. So it's sort-of suited to gathering raw materials like shooting actors, then making stills or animating characters, then just bringing them all together in a 3D space. That process is very close to my 2D work anyway.
The ability to get inside your character's head in a graphic novel is really fun and useful because one, you can really define the character's voice and two, it's a way easier way to convey what the character's thinking by actually laying out what he's thinking.
I don't read or write SF for cutting edge ideas; I read and write it for the storytelling, and every story is new. So have I brought anything new to it? Only in so far as no-one before has written about the characters I've invented in their particular situation.
I get a lot of people coming up to me and saying, "I really hate you." And they say it in the nicest possible way and I accept it. It's the people who come up to you and say, "I really liked your character. Man, he was right!" Those are the ones you worry about.
I think that the entertainment industry and the entertainment press tends to focus on opening weekend box office as a measure of the success of a film and I think the true success is out there in people's homes and how much they absolutely love these characters.
I don't think there's a way to replace Stabler. The most I could hope for is to come and try and develop a character who is interesting, who is interesting to me, who is interesting to fans and who could contribute to the storytelling that is 'Law & Order: SVU.'
I'd love to do comedy. I'd probably have to get my laughing fits in check, because generally if I've done comedy, I'm usually the straight character that plays against the very obviously funny character, so that's really hard when the person is really hilarious.
In every analysis you need to isolate what the real assets are and you must not forget to examine the franchise to do business, to review the character and competence of the management and to estimate the outcome if the whole business had to be turned into cash.
Genres have a history and impose a historical character upon the writer. What is interesting in the poem involves a certain kind of dramatization of the self that you don't have to engage in in the essay. In fact, the essay is a more social medium than the poem.
I've always loved The Simpsons, just because it was really, really funny. As a kid, you love the characters. You know that the dad is dumb and frustrated, and you know that the boy is smarter than everyone else around him and is constantly getting into mischief.
Postal will be so politically incorrect and harsh, it's like a mirror to American society, and I don't think the movie will be well received by everybody. For example, Osama Bin Laden will be one of the lead characters - I think that shows the mood of the movie.
True greatness means that, even if you forget what you've done for others, you never forget what others have done for you. It means always doing your utmost to repay debts of gratitude. Such people radiate integrity, depth of character, bigheartedness and charm.
When you're playing a character for 10 years, it can challenge you less than it did at the beginning, so it was exciting to take on some new shoes. Especially with Erich Blunt, because being a tech wizard wasn't something I thought I would do after Harry Potter.
The idea that every time you do a film you're supposed to be tortured confuses me. I mean, guys who say "Oh, it's really tough, my character is really suffering" - come on. For us, even in the rotten ones, we've had a good time. I don't think you have to suffer.
We should be slower to think that the man at his worst is the real man, and certain that the better we are ourselves the less likely is he to be at his worst in our company. Every time he talks away his own character before us he is signifying contempt for ours.
There's a rule in acting called, 'Don't play the result.' If you have a character who's going to end up in a certain place, don't play that until you get there. Play each scene and each beat as it comes. And that's what you do in life: You don't play the result.
When I create characters, I create a world to inhabit and they begin to feel very real for me. I don't belong in a psych ward, I don't think, but they become very real, like my own family, and then I have to say goodbye, close the door, and work on other things.
I would call it a comedy variety show. We have some people just doing straight standup. We usually try to have one musical act of sort. So its just people being funny in different ways, not just sketch, not just standup, not just characters, all of those things.
Getting into the character is difficult and letting go of your life and the things that kind of define you, whatever it is in life that's your daily routine because you sort of find yourself in this other life and that's difficult and the other end is difficult.
I don't like to analyze what I do too much, but I certainly never meet a single person and say, 'You're the next character.' People think that's what I do. They also think that I sit down and observe and try to imitate random people. I've never done that at all.
Ever since I became a Muslim ... I've had to deal with attempts to damage my reputation and countless insinuations seeking to cast doubt on my character and trying to connect me to causes, concepts or sayings which I do not and would never wilfully subscribe to.
The primary danger of the television screen lies not so much in the behavior it produces as the behavior it prevents-the talks, the games, the family activities and the arguments through which much of the child's learning takes place and his character is formed.
Internationalism on the other hand admits that spiritual achievements have their roots deep in national life; from this national consciousness art and literature derive their character and strength and on it even many of the humanistic sciences are firmly based.
In folk music, I've always been fond of the fragment. The song that has one verse. And you don't know anything about the characters, you don't know what they're doing, but they're doing something important. I love that. I'm really a sucker for that kind of song.
I get to draw what I like to draw, basically people hangin' around, and write very humanistic kinds of situations and characters. But I do also like to draw adventure stories - more in terms of drawing them than writing them - and letting my imagination go wild.
We would choreograph [ with Paul Dano] before each scene [in Swiss Army Man] and very quickly got to a place where we could improvise physically in scene and know that the other person would respond in character appropriately. So that [dynamic] was a lot of fun.
The distinctive contribution that metaphysics makes to our understanding of reality is first that it considers questions about features of reality that the sciences don't, such as the intrinsic nature of causation or the dynamic character of temporal experience.
I am still bowled over by this great young adult novel by David Levithan called 'Every Day,' which is about a character with no gender or body who wakes up every day in the body of a different person. It's a really impressive execution of a really great premise.
When you act, it's better not to fake the emotion. It's better to find the emotion within yourself and your experiences, and see if you can bring that back to the surface, so that you can then literally hand it off to the character, and then let him run with it.
The Josh Brolin character in that movie [Hail, Caesar!], he's given a choice to leave, to do something where he wouldn't have to work as hard. And he'd rather work and deal with the madness of what he's doing because it thrills him, because it gives him meaning.
I don't understand labels. I don't need anybody to tell me I'm Latina or black or anything else. I've played characters that were written for Caucasian females, I just want to be given the same consideration as everybody else, and so far that has been happening.
When you do a TV show, the cumulative intimacy you develop with the audience through your characters is pretty profound. It may be the most profound storytelling there is, because the character gets to live and roll around in the audience's mind week after week.
I like to count myself as someone who doesn't follow that stuff and someone who's just trying to invent stories and characters and movies that are just funny and work because they're good and not because they're a slight variation that were hot a few months ago.
Most people have no idea how much goes into designing a typeface. Twenty-six letters in the alphabet, usually with two versions of each, upper and lower case. Punctuation and alternate characters and numbers - let's not forget numbers - can add another 40 or so.
Well, I think certain roles are chosen for us. The moment I read Pete Campbell I thought: I can do this, this is mine. And in Money, too. The truth is I turn down a lot of projects. If a character doesn't have some kind of internal struggle, it's no good for me.