Quotes of All Topics . Occasions . Authors
I love writing about men. To get by in the world you have to know how men think. Not that all guys think alike, but women tend to think about more things at the same time, an overgeneralization, but I find it easier to make my male characters focus than I do my female characters.
You always take a little bit back with you at the end of the day. I always put a little bit of myself into the characters, too. You find parallels, points of connection, things like that. But I'm not an actor who gets so incredibly haunted by my characters that I can't come back.
Try to distill the character of your subject. Understand how he moves, thinks, acts. It's difficult to put into words. Consider each drawing as a problem that did not exist before, and then try to solve that problem to the best of your ability. That i what caricature is all about
Most of the writers in TV are from L.A. or New York, and those are places where people are cynical and snarky. And they fly from L.A. to New York in an airplane over this vast, expansive land where people aren't snarky; they're a lot more like the Parks and Recreation characters.
One of my favorite things about 'Star Trek' wasn't just the overt banter but the humor in that show about the relationships between the main characters and their reactions to the situations they would face; there was a lot of comedy in that show without ever breaking its reality.
You seem to think that everyone can save money if they have the character to do it. As a matter of fact, there are innumerable people who have a wide choice between saving and giving their children the best possible opportunities. The decision is usually in favor of the children.
Interesting characters are troubled characters. The only problem I've had in my business is very few people - unfortunately, very vocal - confusing the difficult role that I play with me. I play these guys, but I'm not like them. I've been accused of being difficult to work with.
Interestingly enough, for me, a character like Captain Jack, you feel like you could just continue. The possibilities are endless and limitless. There is any possibility of madness and absurdity that could commence, so you feel that, with this character, you're never really done.
At no time in our lives has the media ever acknowledged they were wrong about anybody. They have never felt the need to apologize for getting something terribly wrong. They have never, after trying to character assassinate people, apologized for doing it when shown they're wrong.
Since I got into the movies, 'Running Scared,' that did $40 million. 'Princess Bride,' I got good reviews for the character Miracle Max. 'Memories of Me' didn't do well. 'Throw Mama from the Train' did $70 million. 'Harry and Sally' did 95 or 96. 'City Slickers' did $120 million.
Comics are expensive. Don’t make me resent the money I spend buying yours. Every single moment in your script must either move the story along or demonstrate something important about the characters — preferably both — and every panel that does neither is a sloppy waste of space.
I never even think about the physicality of roles, until honestly I get the gig and I think, 'OK, now what do I have to do in this one?' Like, I approach it thinking more about the character - do I respond to it? Is it something I think I can play? Does it seem like it'll be fun?
We knew Terry Brooks' work, but we hadn't read the Shannara books. So, they sent us the book to read and we just loved the story and the characters. We thought it would make a very compelling season of television. We were like, "Someone is going to make this. Why don't we do it?"
My roles in comedies from 'Austin Powers' to 'Tommy Boy' to 'Wayne's World,' were sort of comedic 'straight man' parts. My character on 'Parks & Recreation' is the comic relief in a comedy. To play a character that appears strictly for laughs is sort of new for me and really fun.
Having grown up Protestant, I was unfamiliar with St. Francis. Then I watched the movie Brother Sun, Sister Moon... I just became fascinated with the character of St. Francis. What I saw in that movie was a man who had fallen in love with God, someone for whom God was everything.
Passing the veil does not alter a man; it certainly takes him from the eyes of flesh, but the capacity, the intelligence, the thinking powers, are all alive and quick; and if they hear the Gospel they will be glad, and the promises are made to them, and they will rejoice in them.
Whatever happens on the surface, it's leading us in a direction. That beautiful core within us that is our character will make choices that will inevitably leads us to a higher understanding of who we are and why we're here. And it's best to be aware of that while it's happening.
Most screenplays, most motion pictures, owe much more to the screenplay. Ingmar Bergman has such an economy of language, so little language in his piece, it is so visual, his moods are introduced and buttressed by camera rather than by word or character. But again, that's unique.
Emotions of any kind are produced by melody and rhythm; therefore by music a man becomes accustomed to feeling the right emotions; music has thus the power to form character, and the various kinds of music based on various modes may be distinguished by their effects on character.
A revolution is coming – a revolution which will be peaceful if we are wise enough; compassionate if we care enough; successful if we are fortunate enough – but a revolution which is coming whether we will it or not. We can affect its character; we cannot alter its inevitability.
You have to imbue the characters with their own sort of feeling of justification and morality. Everyone has that, whether we see them as evil or not. So I try to bring the characters to life by making them likable or lovable, in the sense that they can be, at least to themselves.
The fact that all normal children acquire essentially comparable grammars of great complexity with remarkable rapidity suggests that human beings are somehow specially designed to do this, with data-handling or 'hypothesis-formulating' ability of unknown character and complexity.
The Dain Curse [Tom Fink] was a great job. I was in New York, and I was young - I think I'm 28 years old in that - and I got to work with James Coburn and Jean Simmons and Jason Miller. Plus, it was a Dashiell Hammett story, and I had a great character. It was fantastic to shoot.
What it comes down to is I don't mind if Superman kills people because he has no reason not to kill people. I know that one of the tenets of the character is that he doesn't, but the reason that he doesn't is because having that much power makes you responsible for weaker people.
Helen Lowe writes wonderful stories, yes, but her work also speaks with lyricism to deeper questions of how we treat each other. With lovely prose that brings vivid life to her characters, she creates a universe with people we care about. This is an author with a gift for fantasy.
Our landscapes connect us to our history; they are the source of our character as a peopl, as well as our health, our safety, and our prosperity. Natural resources enrich us economically, yes. But they also enrich us aesthetically and recreationally and culturally and spiritually.
I love it when characters surprise you, just like real people. When I write a scene I just try to make the characters behave in a way that feels natural to them. Sometimes that means they make a left turn and do something unexpected. Those are always the best scenes in my opinion.
Affectation proceeds from one of these two causes,--vanity or hypocrisy; for as vanity puts us on affecting false characters, in order to purchase applause; so hypocrisy sets us on an endeavor to avoid censure, by concealing our vices under an appearance of their opposite virtues.
Sometimes I'll watch a movie, and it's got some big star in it playing a working-class person, and the character is in a grocery store, and you can kind of tell, from just watching the scene, that this actor doesn't do their own shopping. So you have to have some sense of reality.
Fledgeby deserved Mr. Alfred Lammle's eulogium. He was the meanest cur existing, with a single pair of legs. And instinct (a word we all clearly understand) going largely on four legs, and reason always on two, meanness on four legs never attains the perfection of meanness on two.
The problem of good and evil is not the problem of good and evil, but only the problem of evil. In opposition to good there are evil characters, but there are no good characters in opposition to evil. Evil is arguable, but good is not. Therefore the Devil always wins the argument.
I've really enjoyed the independent film world. I've had a blast. But, the reality is that I really want to make bigger movies. If I could make movies that carry great characters and great performances and great pathos, and can have an explosion or two, that would be fine with me.
Some novels present a story form many points of view. Most movies tell only one person's side of the story. Sometime it's easy to use the strongest point of view, or find the character with the most dramatic experience. It depends on which themes the scriptwriter wants to explore.
Every man of character will have that character questioned. Every man of honor and courage will be faced with unjust criticism, but never forget that unjust criticism has no impact whatsoever upon the truth. And the only sure way to avoid criticism is to do nothing and be nothing.
The trick to being a good actor is getting so involved in your character that the camera disappears, the 50 bored guys eating doughnuts disappear, friends disappear. To get to that point when you don't have to think about it, you're just acting and reacting in those circumstances.
No woman has the right to marry a man if she has to bend herself out of shape for him. She might wish to, but she could never be to him with all her passionate endeavor what the other woman could be to him without trying. Character will dominate over all and will come out at last.
You know, when you're in your twenties you use a great deal of symbolism. You somehow think that a character standing beneath a cross is more interesting than a character standing underneath a billboard, but when you get a little older you realize that there's not much difference.
But my main thing that I would love to see as a fan of 'Glee,' like I said, is to really get into the character and who they are and what they do outside of school. I think that that's interesting. And then of course the themed stuff and the album episodes are all really cool too.
Be careful, dear friends, that you do not misrepresent God yourselves. You who murmur; you who say that God deals hardly with you, you give God an ill character; when you look so melancholy, worldlings say, "The religion of Jesus is intolerable;" and so you stain the honor of God.
Dogwalker is a book of fiction, with characters based on the types of people who truly exist in the world. I've seen them and know them - some of them I know really well. Although the stories are sometimes gritty and unsettling, my hope is that in the end they hit a positive note.
The problem with heartbreak is that nobody can help you when you're heartbroken. Nobody and nothing. Not the films you watch alone desperately searching for a character who feels the way you do, not the glasses or bottles of whisky you keep by your bed and certainly not Instagram.
I think that the joy of writing a novel is the self-exploratio n that emerges and also that wonderful feeling of playing God with the characters. When I sit down at my writing desk, time seems to vanish. ... I think the most important thing for a writer is to be locked in a study.
As an actor, you can really play the intensity and gravity and seriousness of the moment, and just rely on the circumstances being funny. The joke is kind of the situation you're in, or the way you're reacting to something, as opposed to the characters just saying something witty.
You have to be like a sponge and use what you can and how it relates because TV is fluid. Things change on a week-to-week basis. Those are the things that I do with every character. If I'm involved in a boxing movie, I go see fights and learn about boxing. It's part of what we do.
I admire many actors, though I don't think there's anyone whose career I would want to mirror sort of by the beats. What I'm really looking to do is constantly defy expectations. I'm very curious to see if you can actually have a character actor and a movie star's career combined.
The cross is like a walnut whose outer rind is bitter, but the inner kernel is pleasant and invigorating. So the cross does not offer any charm of outward appearance, but to the cross-bearer its true character is revealed, and he finds in it the choicest sweets of spiritual peace.
I think that the most important thing for me is how is the character that I would be reading for? Is it interesting? Is there stuff to do? Are there things that you can do with the character? How can you play it out? Just those kinds of things that are very important for an actor.
Emotional, physical, and spiritual estrangement and ontological and religious doubt inform my personality, my thoughts, and my characters, which are, more often than not, masks for my own being and my being in the world - a world that frightens me insofar as I don't understand it.
We should not be too hasty in bestowing either our praise or censure on mankind, since we shall often find such a mixture of good and evil in the same character, that it may require a very accurate judgment and a very elaborate inquiry to determine on which side the balance turns.
One day when I was working on a movie, I stayed at the beach a little too long, and they said, “You are going to ruin a whole day of shooting because you’re so dark. Two days ago you weren’t like this!” So I started putting that in the character; I made him suntanned all the time.