Character Quotes - Page 211

I don't know if I will ever get sick of performing a song called 'Feels Like Loneliness' from Evolution. It's inspired by one of my favorite songs, 'Fever' by Peggy Lee. It's got a jazzy feel to it and I'm always able to put on a bit of character when I sing it, which is fun.

A detective novel should contain no long descriptive passages, no literary dallying with side-issues, no subtly worked-out character analyses, no 'atmospheric' preoccupations. Such matters have no vital place in a record of crime and deduction. They hold up the action and introduce issues irrelevant to the main purpose, which is to state a problem, analyze it, and bring it to a successful conclusion. To be sure, there must be a sufficient descriptiveness and character delineation to give the novel verisimilitude.

There's a lot of actors I think that appear so much more together as the characters they portray as opposed to the actual people, so I know I've said this before: Hollywood's not a place where you're rewarded for growing up.

I'm attracted to films that have strong female characters because there are strong female characters in my life.

I don't know what art is exactly, but I'm pretty sure it's not something you get paid to do. For myself this is a job. I think it's easier to get better at it if you don't lose your identity in it. You do whatever you can to try to understand the character. Because they're paying you feel like you should be doing something.

The reason I trained so hard in school was so that I could be versatile and play any character. With all these in my bag, I'm like a chameleon. I always tell other young actors to go to school, or at least watch movies to learn as much as you can.

The world is full of novels in which characters simply say and do. There are certainly legitimate genres in which this is sufficient. But in real and lasting writing the character is.

When I start writing novels, I go into them with a spirit of inquiry, rather than to substantiate prejudices I had in the beginning. If you don't do that, you can't write good characters.

Our busy lives force us to focus on things we do from day to day. But the development of character comes only as we focus on who we really are.

I never looked at Noah as an animal collector. I always thought of him as an apocalyptic character. I read everything I found about it and was surprised to find that in all religions there is the story of the flood, and that one "hero" saved the world. This proved that Noah and his Ark - were not a religious myth, and is evidence that humanity really went through the flood.

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.

I always try to keep in mind that while the characters in a farce may find themselves in outrageous dilemmas, and may behave in a way that the audience finds amusing, the characters themselves don't have the consolation of knowing they're in a comedy.

Science fiction writers put characters into a world with arbitrary rules and work out what happens.

Acquisition of knowledge is not the end, but the means to the end; the end consists in the attainment, thanks to this knowledge of the higher worlds, of greater and truer self-confidence, a higher degree of courage, and a magnanimity and perseverance such as cannot, as a rule, be acquired in the lower world.

If you will show me the songs which a people or a community sing, then I will tell you the character of that community.

Twitter is my happy place. I am not there to overthink 140 characters.

I've always wanted to be an actor that explores different genres and different characters.

I see myself more as a character actress than a celebrity.

The job of an actor is the same in all of them, really. I mean, you're just creating a character that you hope people will believe, so it doesn't make that much of a difference really.

There were a lot of lessons of production to be learned. On the page, the biggest thing you learn on any TV show is how to write to your cast. You write the show at the beginning with certain voices in your head and you have a way that you think the characters will be, and then you have an actor go out there, and you start watching dailies and episodes. Then, you start realizing what they can do and what they can't do, what they're good at and what they're not so good at, how they say things and what fits in their mouth, and you start tailoring the voice of the show to your cast.

We send our [peacekeepers] off to some disputed zone, full of local intrigue and power blocs and uncertainty and danger, and they are supposed to save lives not with their weapons, but through their competence and their character. And they do it.

Improvisation is a weird word because we often think it means that you make things up out of whole cloth right there on the spot, and that's rarely the case in acting. You have to know who the character is, what the situation is and what is needed.

One of the weapons Marvel used in its climb to comic-book dominance was a willingness to invent new characters at a dizzying speed. There are so many Marvel universes, indeed, that some superheroes do not even exist in one another's worlds, preventing gridlock.

Why has Scandinavia been producing such good thrillers? Maybe because their filmmakers can't afford millions for CGI and must rely on cheaper elements like, you know, stories and characters.

It amazes me that filmmakers will still film, and audiences will still watch, relationships so bankrupt of human feeling that the characters could be reading dialogue written by a computer.