Character Quotes - Page 586

The way television works is that directors come in and out, and they're not there all the time, following every character through every scene. They're vagabonds who go from one show to another.

I think you can't go into any story-breaking process thinking, 'What if they come off as unlikeable?' You just gotta break the story because if you know who your character is, the story will tell you. The story will dictate and say, "This feels off-kilter for this particular person."

When you write for a show that's not yours, your job is to hear the voices of the characters and write as best you can for those voices.

I'm more of a clown, a tragic clown. Yeah. I just like humor to come out of characters.

My characters always like themselves.

When you're on a movie and the production department says, "We need old photographs of you - your character - when you were 20-years-old." I usually tell them it's in storage or I had a fire. I go back to these old photos and there's never a good photo or they're of times that I'm so glad I'm out of. They have nothing to do with the character that you're playing, so it feels false. That's one of the hardest things for me in terms of looking back.

I'd like to think that I don't have a stock character that I go to. I'm lucky in that when you get to initiate your own scene, you get to play whoever you want. That's really kind of cool, but all my characters are short. I look on the videotape, and I thought they were taller, but they're all 5'2".

Marvel has this tradition, and I think that Sony has this tradition too, of hiring directors for Spider-Man who are dramatic directors. That are directors who are interested in human beings, in characters, in drama, and who are really good with actors. That kind of feels like a Spider-Man director to me. And because Spider-Man is always as big as the films that are being made at Marvel, it always is character and story. You can never take that out.

Comic book characters are characters who wear costumes. They're not necessarily different than other characters. The trend I think that you're seeing are comic book movies, at least the ones that Marvel makes, don't have comic book stories. They have dramatic human stories.

I'm more influenced by characters than standups. I love strong, comic women, because it's so hard and I have so much respect for anyone who can do it.

I love to perform and I love to perform characters, and sometimes when I'm doing television and film, I just feel like I'm making a living. I'm good at it, but I'm not really being artistically challenged.

When the writing is good and it suits your character, you don't have to memorize anything, because it just makes sense. You read it and you go, "Oh, that makes sense." And it's easy.

There’s so much I can’t read because I get so exasperated. Someone starts describing the character boarding the plane and pulling the seat back. And I just want to say, Babe, I have been downtown. I have been up in a plane. Give me some credit.

I never regard my characters, my protagonists, as personifications. It's not that I sit by my desk and I pick up a character who will be the spokesperson of the Israeli Left, another one will be the spokesperson of the Right, another one will be the spokesperson of Middle Eastern Jews, European Jews, religions Jews and so on.

One must be rich in thought and character to owe nothing to books.

An age deficient in idealism has ever been one of immorality and superficial attainment, since without the sense of ideas, nobility of character becomes of rare attainment, if possible.

Children are illuminated text-books, breviaries of doctrine, living bodies of divinity, open always and inviting their elders to peruse the characters inscribed on the lovely leaves.

A compelling and important story of First Word War Scotland, a time when women redefined the word hope as the world was losing its innocence. Andrea MacPherson writes beautifully, balancing the lives of her characters between history and the poetry of gesture, secrets and love.

The palmist looks at the wrinkles made by closing the hand and says they signify character. The philosopher reads character by what the hand most loves to close upon.

WRATH, n. Anger of a superior quality and degree, appropriate to exalted characters and momentous occasions; as, "the wrath of God," "the day of wrath," etc. . . .

WIDOW, n. A pathetic figure that the Christian world has agreed to take humorously, although Christ's tenderness towards widows was one of the most marked features of his character.

PALMISTRY, n. The 947th method . . . of obtaining money by false pretences [by] "reading character" in the wrinkles [of] the hand. The pretence is not altogether false. . . for the wrinkles in every hand submitted plainly spell the word "dupe."

Aubrey obviously plays Karen's, Sarah Michelle Gellar's, younger sister. And, um, she's sort of always been the underdog in the family and somebody who is not as ambitious or driven as her sister, as Karen's character, so she's sort of always felt like she's had to follow in her sister's footsteps.

I think I relate to all the characters in one way or another. I'm a chameleon like that

I want to be able to create characters for as long as I can and I want to tell stories for as long as I can but unfortunately I'm not given those opportunities because I'm often boxed into the former category...