Character Quotes - Page 507

The way I write is that, every time I reintroduced a character, I'd have to face some kind of inner demon.

I never really like the characters I play. I only come to love them afterwards.

When I start a movie, I already feel like I'm in it. I'm not a jobbing actor anymore; most of the films I do, I'm involved with development. Some, I've taken from scratch, and worked so heavily on the script, I'm embodying a lot of the character by the time I even get close to filming, because I've asked so many of the questions that I do. There is nothing better than being able to ask all the questions, do all the work. It's when you let it go that you fly.

So many actors get caught up in their technique, and to be honest, I see it really getting in the way. I see them forcing things. I definitely do my best work when I'm free of that. But I think as an actor, I work really hard in preparing the roles. I spend like 90 percent of my waking moments walking around thinking: "What does this character do? What is his relationship with so-and-so?" Always, really. Too much!

One thing I've learned as an actor as well as a producer is to trust my own instinct. When I first started acting I would sometimes have ideas about certain things, whether it's a scene, or a character or certain dialogue, that wouldn't be followed. I was never in a position to have the power to press the matter. Sometimes it wasn't even about my character. But I'd watch the movie afterwards and think I was right.

men change less than is imagined; their after life is only a kaleidescope combination of the elements of their character at the period of adolescence.

If screenwriters have to kill off a female character, they love to give her cancer. We've seen so many great actresses go down to the Big C: Ali MacGraw, Meryl Streep, Emma Thompson, Debra Winger, Susan Sarandon.

You can always find ways to make it different, as long as it's a really well-written script and well-written character.

[T]he first transactions of a nation, like those of an individual upon his first entrance into life make the deepest impression, and are to form the leading traits in its character.

Nothing short of self-respect and that justice which is essential to a national character ought to involve us in war.

If there was the same propensity in mankind for investigating the motives, as there is for censuring the conduct, of public characters, it would be found that the censure so freely bestowed is oftentimes unmerited and uncharitable.

The tribute that is due to the talents, the rectitude, and the patriotism which adorn the characters selected to devise and adopt them. In these honorable qualifications, I behold the surest pledges, that as on one side, no local prejudices, or attachments; no seperate views, nor party animosities, will misdirect the comprehensive and equal eye which ought to watch over this great assemblage of communities and interests: so, on another, that the foundations of our National policy will be laid in the pure and immutable principles of private morality...

Even respectable characters speak of a monarchical form of government without horror.

The presidency is a serious job that requires sound judgment and good ideas, and there's no doubt in my mind that Jeb Bush has the experience and the character to be a great president.

We are bound by ideals that teach us what it means to be citizens. Every child must be taught these ideals. Every citizen must uphold them.... I ask you to be citizens. Citizens, not spectators. Citizens, not subjects. Responsible citizens building communities of service and a nation of character.

Through my Faith-Based and Community Initiative, my Administration continues to encourage the essential work of faith-based and community organizations. Governments can and should support effective social services, including those provided by religious people and organizations. When government gives that support, it is important that faith-based institutions not be forced to change their religious character.

That was exciting man, because the killer is a different kind of character. There are a lot of people who wanted to play the role. I'm happy that Sony and CBS took a chance on a new face. I like the idea that he is from a different country. He has a British sensibility. I like that Billy Bob has a darker edge.

is grey, and I like that about all the characters, the killer, the driver... the movie has a very unlikely Hollywood ending, at the same time it helps you for a sequel too. Those are the things that I think are attractive, it's more, its real life, and people can identify with it and it just grounds it to a certain degree. That's the reason why.

I just felt like, you know, I read a lot of scripts out in L.A., out here in the industry and I just felt like this film was just being genuine. I just felt like it had really great characters. And all the three different characters have completely different stories and they're all kind of intertwined together thematically. So I just thought it had great characters, great themes

What is enthralling and illuminating about The Metaphysical Club is its portraits of individuals and their milieus. Menand is wonderfully deft at evoking a climate of ideas or a cultural sensibility, embodying it in a character, and moving his characters into and out of one another's lives. What might have been a jumble of intellectual movements and colorful minor figures (...) is instead a subtle weave of entertaining narrative and astute interpretation.

All storytelling is kind of that - there's a bit of text that you put pressure on that spits out some desire that a character has and then you follow that. The other part is that every scene raises an expectation in the reader's mind - that's part of its job is to make you look in and be curious.

In a story, for example, you'll start off with a character who is a little bit of a cartoon. That's not satisfying and you start revising. And as you revise you always are making it better by being specific and by observing more closely, which actually is really the same as saying you love your characters. The close observation equals love of them.

The writer has to make pleasure for the reader - which, I think, is done by taking one's character's seriously and taking one's readers seriously -don't condescend or try to be tricky. Be a friend to your reader - I'd say that's a pretty good first step.

When we talk about adversity, this is the moment when character really gets tested. When things aren't going the way you want and you can't see anyway that they're going to go the way you want. That's kind of when those old virtues really become valuable and vulnerable also.

Manhood and sagacity ripen of themselves; it suffices not to repress or distort them.