Character Quotes - Page 418

I sometimes find that my family's emphasis on stories, characters, and art that appeals directly to children rather than over their heads to adults is not fully appreciated by parents who may have more narrowly adult concerns and agendas.

In my older songs, I used to hide behind fictional characters to deflect attention away from myself.

We referenced fictional characters as if they were people to learn from. As if real-life people were too nebulous, too private and unreal for us to understand.

I think that I prefer to shoot characters even if they are not good people. I don't think that cinema is a place where you can do sentences like in a court.

I'm not one of those people who writes a biography or tries to figure out what kind of ice cream the character liked when he was 10.

Whatever you perceive, you always make a story with yourself as the main character, and that dictates your life. Then when you read 'The Four Agreements', you hear another voice beneath the story, the voice that comes from your integrity, your spirit.

The same way that you are the main character of your story, you are only a secondary character in everybody else’s story.

It's wonderful to watch pretty women with character grow beautiful.

In the music industry, you meet some not very nice people, some very strange characters.

Julian Schnabel painted a picture that he dedicated to my character in Rumble Fish. It was called The Motorcycle Boy. I remember when he brought it over to me at the Mayflower Hotel [in New York] years ago. This is when you and I knew each other.

You have to write a song around this specific character or to enhance a specific scene. A lot of other craft goes on.

I think once everything is in place, once you've kind of wrapped your head around the story and the character, it's very liberating and you can start doing things like you would do.

The sexy moments for me, I wasn't thinking of them as sexy. I was thinking of them as more specific to my character. So it was necessary for my character's development in the movie, so that's how I played it.

I think there are three types of actors. There are the ones that do the ego thing, which is "I'm never going to look bad in a movie, ever." This is mostly the action film dudes, like, "Nah, hell no. He ain't punchin' me! I'd whoop his ass!" Then you've got the activist type who bases their decisions in the development of a character on what it symbolizes to society - what the ethical code is. And then the third type is a true thespian who doesn't give a flying rat's ass what it is as long as it's deep, powerful, and painful, and they will dive in headfirst. I really respect those people.

We all have our moments. But you can switch it around. Then you've got the activist type who bases their decisions in the development of a character on what it symbolizes to society - what the ethical code is.

With Amaryllis in Blueberry, Christina Meldrum has woven a beautifully layered, intensely emotional story, with unforgettable characters whose voices will remain with you long after their secrets have been revealed.

It's rather disconcerting to sit around a table in a critique of someone else's work, only to realize that the antagonist in the story is none other than yourself, and no one present thinks you're a very likable character.

But we are all sorry when loss comes for us. The test of our character comes not in how many tears we shed but in how we act after those tears have dried.

I find that in preparation for a drama you can do a lot of character work and develop the character and know what you want to achieve and project throughout the course of the film.

I learned a lesson that I keep learning over and over, and that is that the most fun is to watch our main characters interact with each other. The most fun comes from their tight interaction.

When you work on a character, you form in your mind an image of what he ought to look like. Then you go and find one who resembles him.

I never think in terms of alienation; it's the others who do. Alienation means one thing to Hegel, another to Marx and yet another to Freud; so it is not possible to give a single definition, one that will exhaust the subject. It is a question bordering on philosophy, and I'm not a philosopher nor a sociologist. My business is to tell stories, to narrate with images - nothing else. If I do make films about alienation - to use that word that is so ambiguous - they are about characters, not about me.

I like actors who just are who they are, with a little bit of qualification to adapt to their character. But mostly they just use their own personality to embody the character.

I like to use a bit of chaos when I shoot. I think it may be something from the way I shot my first film - I was very scared, of course, and I prepared everything, I wanted to make sure that the characters did the right thing at the right time on the storyboard. But then I realised that in life, there is so much more than what you can predict or write in advance, that when you shoot the story, it's good to leave some gaps where you lose control. I think this combination of chaos and organisation gives a kind of quality.

Most of our occupations are low comedy.... We must play our part duly, but as the part of a borrowed character. Of the mask and appearance we must not make a real essence, nor of what is foreign what is our very own.