Character Quotes - Page 531

I don't think that the feminist movement has done much for the characters of women.

I'd like to think that what my style of writing is, is an attempt not so much to judge the characters that I'm writing about, to expose them, to label them, to stereotype them, but instead to make them come alive for the reader with all their strengths and their flaws intact.

I act according to the requirements of the character, and if I try to play the role, then I play it truthfully. In my daily life, I'm a laid-back, peaceful guy. I'm just doing my job to act.

I gained a lot of confidence after 'IP Man' as being a true actor. I went on to tackle what it is an actor is supposed to do before a film. Do a lot of research, get into the character. That's what I did with 'Dragon.'

There's a lot of thinking when you choreograph something. You're not just choreographing some bodies, arms, legs flying around to look cool. It's a lot more complicated and sophisticated. You also have to deal with the connection of the whole film, so when I choreograph, I think of the movement itself, the camera angles, the characters.

If you're playing a fictional character, you can create a character, you can sort of take certain liberties. And when you're playing a real person who's actually standing there watching you, you know, it's - you do feel a weight. You know, you feel an obligation to not only be - to give the best performance that you can, but to make sure that you represent this person.

Your resolve is unquestionable. Your character undeniable. Your history unparalleled. You've inspired us, all the way. You will again today.

We as actors doubt up until the last minute that we can be this person. So everything matters, the more work you do, you get in touch with who the character is.

With acting, it's all about internalizing the character for me and doing all the preparation you can. So the day you first step into your wardrobe, you can walk like the person. That's really the moment where the light bulb goes off. You're nervous; any actor will tell you that. Robert De Niro will probably tell you the same thing. He may not want to share that with you, but he probably goes through it. That's why actors are so neurotic.

Tom Stafford was an odd character, you know - a brilliant guy. He looked weird and I think he took a really defensive attitude about being a hunchback. You know how people can be, giving him a hard time. So he turned that into a defensive mechanism. He would strike first, a lot of times. But he was a great guy, and really those talks we had when I was about 15, out of all of that came the studio over the drugstore and everything else. I'm not saying - I'm no big deal, but I was a part of the birth of the music there.

Character, to me, is the life's blood of fiction

I'm asking the American people to rise above the noise and the clutter of our broken politics.

You're always working in the movie. Never was I me, and never have I been me, nor was he him. We were the two characters. But the character that I was playing was informed by my DNA, looking at him informed by his.

I think my characters - well, at least a few of them - are hoping or searching for some kind of contact with god.

I don't think I'd call [mood] a major force, but it is important as far as hitting the right notes or nuances with a character or scene.

The way I saw the characters these things just happened naturally. At the same time - and I know it's probably not apparent when you read the book - but I really tried to hold back because I didn't want it to become a cartoon.

I sort of like writing about weird characters, I guess.

Knockemstiff is a collection of short stories set in the holler of the same name in southern Ohio where I grew up. I tried to link the stories together through the place and some recurring characters.

I really have no idea what the French think of my characters, or why The Devil All the Time did so well there.

It's hard to play a continuing character like Loomis for nearly 11 years and simply wash your hands of him. It seems a pity.

The process of creation goes on all the time. When I get through, I feel I know what the character will do in every situation. But the building up of the part is not mechanical or deliberate. It grows out of the text.

A story is a character who wants something and overcomes conflict to get it.

It is worthy of note that the Chinese and Japanese characters for money and gold are the same.

But the people who took the bus didn't experience the city as we experienced the city. The pain made the city more beautiful. The story made us different characters than we would have been if we had skipped the story and showed up at the ending an easier way.

The inciting incident is how you get (characters) to do something. It's the doorway through which they can't return, you know. The story takes care of the rest.