Character Quotes - Page 144

I think it's important to keep your personal life to yourself as much as you can. It protects your sanity and you need to have boundaries. And it helps that enchantment of watching an actor. If you know someone's favourite colour or what they like to do on a Sunday, you won't fall for the character as much.

Night Owls is a fast, fun read that kept me turning the pages. Lauren M. Roy delivers a plot that zips, dialogue that zings, and a cast of characters you'll cheer for to the very end. Thumbs up!

How you do anything is how you do everything. Your "character" or "nature" just refers to how you handle all the day-to-day things in life, no matter how small.

When about to commit a base deed, respect thyself, though there is no witness.

Theater is all about the rehearsal process. In fact, I think a lot of times opening night there's a mixed sadness because you're finished with a lot of people's favorite part of the process, which is finding the character and discovering it, and then you get to live it.

If there be a mind that, not perceiving in the narratives we have compared the fingermarks of tradition, and hence the legendary character of these evangelical anecdotes, still leans to the historical interpretation, whether natural or supernatural; that mind must be alike ignorant of the true character both of legend and of history, of the natural and the supernatural.

I think I would much rather push the boundaries of the degradation that the characters face.

I don't think there's a certain part of a character I take with me. There's a certain part of me I leave with each character, though.

Trying to stay in the moment as an actor and being really [present in] what you're doing and the scene that's going on and where the characters have come from, it wasn't difficult, per se, to really embody and embrace.

I don't think there's anything that I would really baulk at doing on-screen. I don't think so. I've got certain pet peeves about writing... my pet peeve about reading scripts is when they give you a line reading and there'll be a line but next to your character's name it'll say 'very angry'. But I'm like: "Well, I'll decide that actually!" So, there's little things like that. That's a slight pet peeve.

The real challenge of acting for me, I suppose, is just getting to know a character very, very well and just applying what I know about them to every single scene. That's what it can be broken down to.

In Spiritual formation we are aiming at a character and life that is so shaped that the deeds of Christ routinely and easily come from what is inside.

It depends on the story and the filmmaker. And it depends on the character, and the heart and soul of the person that I see on the page, and if it resonates with something that I think I can summon in myself.

Rise to the challenges that life presents you. You can't develop genuine character and ability by sidestepping adversity and struggle.

You have the morals of rabbit, the character of a slug, and the brain of a platypus.

Our character is but the stamp on our souls of the free choices of good and evil we have made through life.

The Superior Man is all-embracing and not partial. The inferior man is partial and not all-embracing.

Great as heaven and earth are, men still find some things in them with which to be dissatisfied. Thus it is that, were the superior man to speak of his way in all its greatness, nothing in the world would be found able to embrace it, and were he to speak of it in its minuteness, nothing in the world would be found able to split it.

The superior man is universally minded and no partisan. The inferior man is a partisan and not universal.

Pain seems to be easier, or melancholy seems to be easier to portray in a character. I don't know if that's because I'm a human being or because I'm an Irishman or both.

No, I don't have to practice that grunt. You just do it. Once you're in character, you're in character. You don't sit there purposely thinking, Well, I'll grunt here, or I'll groan there.

You spend your life training to be an actor, observing people's characteristics so that you can design characters around what you've seen.

I think if you play characters, it's very important not to ever tag them with any sort of disorder, or diagnose them, or whatever. You have to normalize the behavior to get inside the character.

An idea has no worth at all without believable characters to implement it; a plot without characters is like a tennis court without players. Daffy Duck is to a Buck Rogers story what John McEnroe was to tennis. Personality. That is the key, the drum, the fife. Forget the plot.

I stopped appearing as Dracula in 1972 because in my opinion the presentation of the character had deteriorated to such an extent, particularly bringing him into the contemporary day and age, that it really no longer had any meaning.