Character Quotes - Page 430

Small faults and virtues are for daily life. The big ones are for emergencies.

I'm thinking like the character in order to be as authentic as I can. But after a while, how would I be able to cleanse myself from this unless I do something that's a different medium but also creative. That's what I do. It's my little ritual. After every filming, I just write a poem about it and my character specifically and I can let her go.

I need to be able to write a poem after every film and to kind of cleanse myself from the character because for about three months or so, I'm constantly living through the character's eyes.

I think as actors we need to close read scripts and we need to fully understand the intricacies of dialogue as well as the symbolisms of what the actor wears and what they hold in their hand because that only adds more layers to the character.

At its core, 'Heroes' is an ensemble character drama with genre elements.

Let us respect the unique character and the personal world of each and every human being

I love the fact that we've made a film that not only the whole family can go to and enjoy but, you know, it's actually having an effect. You know, Rey's character is a tough woman who your 6-year-old can pick up a lightsaber now and go for it.

I had a love affair with books, with characters and their words. Books kept me company. When the voices of the book faded, as with the last long chord of a record, the back cover crinkling closed, I could swear I heard a door click shut.

Somewhere in the back of my brain there exists this certainty: The body is no more than a costume, and can be changed at will. That the changing of bodies, like costumes, would make me into a different character, a character who might, finally, be alright.

I don't really ever think about whether or not I like the characters I'm playing. I'm more into the minutiae of their behaviour or what they're doing in a certain scene.

Well, it's kind of like that classic sort of trajectory in this kind of movie where there's conflict and they're estranged and they kind of grow to love each other but they don't show it. Then at the end - it's kind of like that. But I think the characters are more interesting than that.

It may...be judged indecent in me to come forward on this occasion; but when I see a fellow-creature about to perish through the cowardice of her pretended friends, I wish to be allowed to speak, that I may say what I know of her character.

The flexible muscles growing daily more rigid give character to the countenance ; that is, they trace the operations of the mind with the iron pen of fate, and tell us not only what powers are within, but how they have been employed.

An air of fashion, which is but a badge of slavery ... proves that the soul has not a strong individual character.

I wanted it to be a wonderful combination of being able to dance a little bit, not being especially good, but also playing a character who says the line, "I love to dance".

[On Elizabeth Barrett Browning:] Her sweetness of character is even beyond her genius.

Sex annihilates identity, and the space given to sex in contemporary novels is an avowal of the absence of character.

The strongest argument for the un-materialistic character of American life is that we tolerate conditions that are, from a materialistic point of view, intolerable.

I once started a detective story to make money—but I couldn't get the murder to take place! At the end of three chapters I was still describing the characters and the milieu, so I thought, this is not going to work. No corpse!

The strongest argument for the un-materialistic character of American life is the fact that we tolerate conditions that are, from a materialistic point of view, intolerable. ... No nation with any sense of material well-being would endure the food we eat, the cramped apartments we live in, the noise, the traffic, the crowded subways and buses. American life, in large cities, at any rate, is a perpetual assault on the senses and the nerves.

Others are to us like the characters in fiction, eternal and incorrigible; the surprises they give us turn out in the end to have been predictable and unexpected variations on the theme of being themselves.

The shreiking fight or the out-of-character insult endures forever, while the daily sweetness dissolves like sugar in water.

My brother said that at Eton, students were told caning builds character. I suppose girls are caned less because we aren't thought to have much character." "Which is the sort of thing males say when they don't know any women.

I don't know what people want, really. Does somebody have to die? What is meant by resolution? These are questions that I don't quite know what to do with. That being said, I did want the characters to be changed by the end of the book. But will what they've gone through alter their lives from this point forward, i.e. will they make different (better) choices? Probably not.

It's something that's difficult to explain but I think all writers work this way to some extent, whether we're aware of it or not. For me, writing has little to do with thinking. I don't want to control the narrative. I listen to the rhythm of the words and dialogue and try to give the characters the space in which to say and do what they want without intervening too much.