Characters Quotes
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We are free when we are not the slave of our impulses, but rather their master. Taking inward distance, we thus become the authors of our own dramas rather than characters in them.
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As an actor, if I just did sci-fi, I think it would get limiting, like if you just play lawyers or doctors, over and over. It's a lot more fun, if you get to play lots of different types of characters.
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Time is what makes good stories. Much has been cooking for a long time, and at last finds an out in narration one day. That's a supreme joy. And why the characters keep showing up.
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I like characters who have faults. I'm drawn to darker people.
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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.
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I think it always makes for great television when two characters actually take time to realize that they want to be with each other. You have to leave it to the writers to know what makes great television.
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On The Great Gatsby: Fifteen-year-olds can really get behind an essay on what green light means, which is good, because they sure as heck won't relate to any of the characters, who are all huge jerks with enough money to be wasted most of the time on top of being miserable.
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I truly believe the book of philosophy to be that which stands perpetually open before our eyes, though since it is written in characters different from those of our alphabet it cannot be read by everyone.
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I am very happy that I am getting to play such layered and demanding characters. I feel blessed that directors are trusting me with such roles.
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All a writer's characters are imaginary, no matter whether they are based on real people or not. They are people as one imagines them to be.
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The lives and deaths of characters in stories and poems, however tragic, help us to learn about the world and - if we are brave enough - to change it.
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I would like to find a more precise way to not only tell the stories of female characters, but also do so in a female "way." My biggest advice would be to trust yourself.
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What I think networks do so well are big, fun, accessible, invite everybody into the tent kinds of storytelling, akin to an early Spielberg movie or a Michael Crichton novel. That's not to say that there aren't scary parts 'cause there are, and that there aren't sexy parts and edgy parts, just like early Spielberg would have, but there's a lot of heart, a lot of emotion and complicated characters.
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Malice delights to blacken the characters of prominent men.
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The funny thing is you oddly don't really say goodbye to all the characters you've played. There's like a chest of drawers in your head that you can always access. They're always around. I'm not sure if that's healthy. But they're all there.
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Michael Koryta is that rare author who is at once a compelling story teller and a fantastic writer. From the first sentence of THOSE WHO WISH ME DEAD, you'll be under his spell. His characters are living, breathing people you'll care about; his setting is a place you'll visit and stay-long after you've decided to leave because you're scared. You can't leave; you're trapped. There are too many nerve-jangling, beautifully written, razor sharp moments and you won't want to miss a single one. This is an absolute sizzler.
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I think I've proven with my career that I can play a wide variety of characters. Yet, I still get typecast as the crazy slob guy. That's how it always works.
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I loved the Scarecrow and the Tin Man and the Lion and you could kind of see the actors' faces in them. It wasn't an entirely new face sculpted around them. What made those characters so human and appealing to me was seeing those great actors underneath there. They weren't lost behind a bunch of appliances.
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When I walk down the street, even here in the U.S., they are always saying my catchphrases of my characters, and they shout at me with my catchphrases.
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Age, habits of business and experience have modified many characters.
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I really like directors who give you a certain amount of autonomy because I think a lot about my characters and I think a lot about scenes and choices.
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Once, Naseeruddin Shah told me that the wafer shop was the best acting school that I could have attended. And I completely agree. I observed every customer very minutely and picked up some quirk or the other. Later, I used those experiences while playing different characters.
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I think the only productive way to approach characters, and frankly people in life, is through empathy. The minute we call someone a villain, we are choosing to part with empathy and that can be a slippery slope, both as an actor and a human being.
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In the stormy current of life characters are weights or floats which at one time make us glide along the bottom, and at another maintain us on the surface.
