Character Quotes - Page 331

There is a scene in the movie where Astrid and Hiccup fly on Toothless's back toward the island of Berk. The animation is intensely real, from the waves on the sea to wisps of wind blowing in the characters' hair. The feeling I get watching that scene is why I fly - just for that feeling.

I'm an actor, in particular, that likes to have a mask or something that can help me distance myself from the character. Like the moustache or an accent.

The directors were often really nice and I was well behaved, so I would just sit there in rehearsal. That allowed me to see the process - not just the result, the red carpet, all of the wonderful, fun things that happen afterwards - the nuts and bolts, the nitty-gritty, "Let's try to build this character from the page," tech rehearsals.

It's a dead give away of an inexperienced writer if every character speaks with the same voice

At the end of the day, it's all one version of telling a story. I treated this as if it was a two million dollar independent film. I did a lot more physical work than I'd probably have to do for a two million dollar independent film with four months of training and stuff. But as far as the character's psychology or emotional life goes, I treat it just the same.

I'm not going to experience the reality of hardship that sometimes my characters live in. I'm very cautious about that.

The idea of goodies and baddies has always fascinated me, and what people consider to be a goodie or a baddie, because I've never seen any of my characters as baddies.

A criminal trial is like a Russian novel: it starts with exasperating slowness as the characters are introduced to a jury, then there are complications in the form of minor witnesses, the protagonist finally appears and contradictions arise to produce drama, and finally as both jury and spectators grow weary and confused the pace quickens, reaching its climax in passionate final argument.

...it's easier to hold to your principles 100% of the time than it is to hold to them 98% of the time.

If there is a soul, what is it, and where did it come from, and where does it go? Can anyone who is guided by his reason possibly imagine a soul independent of a body, or the place of its residence, or the character of it, or anything concerning it? If man is justified in any belief or disbelief on any subject, he is warranted in the disbelief in a soul. Not one scrap of evidence exists to prove any such impossible thing.

Storytelling is an act of cruelty. We are cruel to our characters because to be kind is to invite boredom, and boredom in storytelling is synonymous with big doomy death-shaped death. So: be cruel to your protagonist. Rob him of something. Something important. Something he needs. A weapon. An asset. A piece of knowledge. A loved one. A DELICIOUS PIE. Take it away! Force him to operate without it. Conflict reinvigorates stale stories. New conflict, or old conflict that has evolved and grown teeth.

You've got all these characters and yet, you're hovering over one character like a fly over a stinky diaper. Realize that you've got a kickass superpower: you can possess and take-over anybody inside the story. With the power of Point-of-View, you can drag us along for the ride. You can shove us into their eyes, their minds, you can force us to piggyback on their experiences past and present. Sometimes untangling a knotted-up tale means looking at it from different eyes: what better eyes than those of the other characters inside the story?

Great stories, well written and heartfelt. Prisoner of SouthernRock is an engaging and entertaining celebration of southern music, musicians and characters.

I've actually always wanted to play the character a bit 'off'. I think that could be fun.

Acting is still, of course, what I love to do most. The beauty of it is that by changing characters, it never gets boring.

I don't know if make a conscious effort to vary the characters and subjects that I write about, but I do find myself keeping track of ideas that come along, as probably most writers do, and whatever seems most interesting to me when I flip through my notes before I begin a new story is usually what I will try to write about next.

No single character is ever so great that a nation can afford to form itself upon it. Imitation belittles. This appears in the instance of the Chinese. The Chinese are so many Confucii; in miniature. And so with the Jews. Moses, the lawgiver, is poorly represented by Moses, the old clothesman ; or even by Dives, the hanker.

I feel like any experience you can have which adds to your repertoire of things you've done and can add to your character - I'm willing to try.

Visually through my work, over and over, I'm trying to create characters that are - to some people they may be monstrous, and I hate that word, because I think they're just unique. Misfits. I purposefully want to present something a little different so that whether people are disturbed by it or not, they can wrestle with it.

One of the main coaching points I've heard throughout my entire life is, 'How you respond to difficult situations defines your character,' and I think it's a good saying. I also think it applies to more than just the players.

As a former federal prosecutor, I welcome the opportunity to hold Hillary Rodham Clinton accountable for her performance and her character.

Just the fact that there's motion and sound, took me a long time on Walking Dead to get used to the fact that in television, characters don't have to say things. In comics, people have to say I feel this way, or I want to do this, and you can do so much with gesture and movement and facial expressions that you can do sometimes facial expression stuff in comics, but you can do so more if somebody can move around without actually speaking. That leads to a different style of writing between the two mediums.

There must be areas in which a particular character does not represent you.

The best novels are those that are important without being like medicine; they have something to say, are expansive and intelligent but never forget to be entertaining and to have character and emotion at their centre.

The actors I admire are character actors.