Character Quotes - Page 504

I love 'Batman.' I love the Adam West 'Batman.' I love the animated 'Batman.' The character of Batman can encompass any interpretation, which is what makes that character so brilliant and why it's survived so many different media.

The only time I ever met a character that I wrote was when I met Ian McKellan, when he was playing Magneto in the 'X-Men' movies.

I think any writer coming on to Batman should at least attempt to do their own definitive version. What it means to them. Whatever they think that symbol or character can say.

Unlike novel characters, comic book characters last an eternity. When a character is changed beyond recognition, there's no longer the merchandising aspect.

With Marvel and DC, you're working with their pre-established fictional universes and characters. At those places, you're working with characters who will outlive you and maybe your children and your childern's children. Batman will outlive me, Spider-Man will outlive me, the Avengers will outlive me, and so it goes.

I pretty much always choose characters. That's what I do. That's what I look for. I look for dynamics in a script and potential.

A character, their ability or inability to laugh at themselves should always be a very, very conscious choice. It's a very big key to the nature of a human being.

If you put people in a corner, you see what their character really is.

When I am writing, I'm very much on the ground, on the same ground my characters are treading.

My character on 'The Good Wife' is a smaller character, and his story arcs are typically season-long, unless it's a big episode for him. His transitions take place over many, many hours.

I don't like making a film and having the actors in character too much in magazines and on the net and everything else. Because you want to keep something back.

One gets started, and then, suddenly, one cannot remember what toothpaste they use . . . the moment comes when a character does or says something you hadn't thought about. At that moment he's alive and you leave it to him.

I watched as Humphrey Bogart’s character used beans as a metaphor for the relative unimportance in the wider world of his relationship with Ingrid Bergman’s character, and chose logic and decency ahead of his selfish emotional desires. The quandary and resulting decision made for an engrossing film. But this was not what people cried about. They were in love and could not be together. I repeated this statement to myself, trying to force an emotional reaction. I couldn’t. I didn’t care. I had enough problems of my own.

When you become such a strong personality in music, it's hard for people to accept you as a different character.

Theres something magical about theater. You can live the character every single day to the point where you become that person.

I write a book of poems and then the characters won't go away so I write a play from that.

I keep as far from children as possible. I don't like the size of them; the scale is all wrong. The head tends to be too big for the bodies and the hands and feet are a disaster and they keep falling into things, and the nakedness of their bad character.

By the time [John Adams] came to write his Defence of the Constitutions of the United States in 1787 he had as dark a view of the American character as that of any critic in our history.

[John] Adams never had an optimistic view of human nature, and his experience in the Congress and abroad only deepened his suspicion that his fellow Americans might not have the character to sustain a republican government.

What makes 'Hoop Dreams' such a powerful film, is that it carries a message that maybe we can do something about our problems in America, reflected in the resiliency and strength of those families that we portrayed. The film was where we really saw the characters that we care about, interwoven with a analysis that is trying to help the audience understand what is happening in these people's lives. And in what is happening, there is an understanding of the larger power relationships in the world.

Where's Amy?" Ian put in. "Will you please get her to call that Evan character? He rings here twenty times a day. He's either the most mule-headed person who ever lived, or he really likes your sister. She has to have mercy on him–on all of us!

I decided to do philosophy at university, with a view to becoming a professional philosopher. Being a rather unstable character, at some points I had doubts about becoming a professional philosopher, but the example of two of my teachers, Ezequiel de Olaso and Juan Rodriguez Larreta, made me confirm my original decision.

Who can doubt that between the English and the French, between the Scotch and the Irish, there are differences of character which have profoundly affected and still affect the course of history?

At a certain age you start becoming brave enough to reveal yourself and it's the revealing of who you are that enables you to dig deeper into different characters. You'll get to a point where you can say: 'I can relate to that', 'I know that', 'I don't have to make that up' and that resonates with people in the audience who can tell that you've been there.

When you have a clear idea of what your character is trying to accomplish, it makes it a lot easier to riff on things.