Character Quotes

I love writing from enclosed spaces: you really learn about your characters when they have tight walls to push against.

Also, as an author, character has always been what I'm most interested in - much more so than plot or setting, although those are good things too.

The thrill of doing television versus features is in television you get to focus more on the characters.

There's 54 years of X-Men comics by now, so there are a lot of characters to explore.

The great end of all religionis to purify our hearts--and conquer our passions--and in a word, to make us wiser and better men--better neighbours--better citizens--and better servants of GOD.

In writing, as in life, always be true to your character.

I like to play a wide range of characters. The more they're unlike me, the better I like it.

The question is: Will Trump's ego allow him to reconsider any negative moves that he now might have in mind? Such reconsideration is really out of character for him.

Generous in spirit, richly poetic, and packed with memorable characters.

There is a little bit of me infused in every character I play.

It's always tense when you move a character from a book to the screen. Always tense.

The way people respond to struggles or express their feelings in difficult situations are very different. I like imagining how characters would react in certain situations.

I'm pretty much of the Shakespearean school. Dialogue is character. How we speak is who we are.

I thought about ["Summer Sisters" ] so often as I was writing about these female characters who love each other and hated each other and were sort of in love with each other.

I love flawed female characters, duking it out.

I frustrate myself as a writer. There are certain things that I'll think, 'Well, that would be really fun to play... if somebody else was playing this character.'

Everyone is complicated one way or another. But it's interesting to dig into a complicated character, to try to find that within yourself.

I've worked in the theater, television, and films. A five-hour TV series is certainly more time than a character I'd be playing in a film.

My interest in this pack of failures betrays my character.

I've gotten to play some pretty intense characters and I tend to think it's therapeutic for me.

I know that some people work differently, but I have to work from the inside out. It doesn't matter how big the character is, there has to be a truthful core.

PLAIN SUPERFICIALITY is the character of a speech, in which any two points being taken, the speaker is found to lie wholly with regard to those two points.

It is fun to explore these kick-butt characters.

A good novelist loves all of his characters, he lives in them, even in those who commit or must commit terrible acts.

If I'm doing my job as an actor, the audience knows everything I know about the character.

I want to forget what I've learned about the character, but the reality is that you can't, because you've absorbed it. It's there in that moment when you need it. The hard part is to trust it.

You always have to create the character from the ground up.

I guess the characters I play may be at the more destructive edge of the spectrum, more damaged or whatever, but I find a lot of female roles uninteresting.

Usually, the creating of the book happens while I'm writing the book. I start with Chapter One, with a few ideas and a handful of characters, and the book grows from there.

I had lived in France before graduate school, but because of Spain, I had a lot of the characters go and spend a good bit of time in Spain.

I may be the only actress in Hollywood who won't need a face lift, because when I take off my makeup, I look so great compared to my characters!

I'm not trying to make something that is difficult to perform every night. It needs to proceed at the speed of that character's thought because that's the only way it's actable.

I like diversity; I want one character to be very different from the next. I love to live with a character for a long time if I can, but I like one character to be different from the next.

I enjoy playing characters where I get to sort of change my look, my voice. It's not about what she wears, it's about what she's got inside.

There are not that many jobs as an actor where you don't get to know what your character will be doing from episode to episode.

I love creating stories, dreaming up characters and breathing life into them. From several generations of Irish storytellers, I think that's what I was born to do.

When you've got good writing, you can kind of give up all the research, in a way, and start just following the emotional integrity of the journey of your character.

You know, it's scary when you sign onto a pilot of a series because, as much as you want the series to go, you also want it to be a character that you'd be interested in playing for a long time.

Well, I don't think characters change. I think they become more revealed. I don't think you really can change a character on a show.

I still like the relationship part of any story. You don't want your character to figure everything out and then at the end of the day, go home and eat soup from a can by herself.

The way glass can be molded or blown or cut into any kind of shape made me think about how we as people - our characters or souls - can be shaped or changed by outside influences.

Of the many qualities I adore about Melissa McCarthy as a comedian and as a dramatic actor, the best is how fully she gives herself to every character she plays.

You can really help support a character if you understand the setting. So for that reason I generally write about Philadelphia.

I think to really be literate in nu shu you only need about 600 characters because it is phonetic. So you're able to then create many words out of one character.

I definitely feel that plot flows from character. I dont believe that you can construct a plot and insert people into it.

I was loosely aware that most of my characters were fundamentally selfish people, but I didn't intentionally make that a theme.

I was envious of [Vincent] Van Gogh because I could never make a painting that beautiful! (Ridiculous, I know.) That was when the character of Ivy [Wilkes] began to take shape for me.

The rule for finding plots for character-centered novels, which is to ask: 'So what's the worst possible thing I can do to *this* guy?' And then do it.

I've always tried to write the kind of book I most loved to read: character-centered adventure.

I cannot conceive why people will always mix up my own character and opinions with those of the imaginary beings which, as a poet, I have the right and liberty to draw.