Quotes About Heroines

I think as women we've always been very used to growing up reading and identifying with male protagonists, especially in fantasy. There's a saying in publishing that girls will read about boys, but boys will only read about boys, and it's important to give women strong heroines.

You know the fairy-tale drill, especially from the Disney versions: the heroines endure awful stuff in rites of passage that lead to a joyous resolution of, usually, marriage to a prince. 'Into the Woods' follows that template, then asks, 'What happens after Happy Ever After?'

Thirty years ago, this promise, this allure of democracy, drove hundreds of thousands of people in East Germany onto the streets. What courage they showed! It was these brave people, these peaceful heroes and heroines, who brought the Wall tumbling down.

In most of my stories, I give a lot of importance to heroines. My heroines are not just glamour dolls.

Young action heroines feel in service of male gaze, rather than being the full complexity of a human being.

I feel like one of the most successful heroines in science-fiction cinema is Sigourney Weaver in 'Aliens' - I love her, and as a guy, no part of my brain thinks of her gender.

I have a connection with Bengali heroines. I have worked with Tanushree Dutta and Bipasha Basu.

We heroines don't get good roles.

In Hindi cinema, the cabaret dancers were eased out when the heroines imbibed their mannerisms. This could happen in Malayalam cinema too.

Boring heroines are, in my opinion, the most common romance mistake. We loathe hanging out with women who define themselves purely through their relationships... why would we want to read about them?

As cheesy as it might sound, I've got to give credit to movies like 'The Hunger Games' and 'Divergent' because they are stories written about young heroines. It's not just about super guys any more.

We long to feel good about our work. In his brilliant way of writing, Studs Terkel explained over 40 years ago what people wanted from their work efforts: "It is about a search, too, for daily meaning as well as daily bread, for recognition as well as cash, for astonishment rather than torpor; in short for a sort of life rather than a Monday through Friday sort of dying. . . . To be remembered was the wish, spoken and unspoken, of the heroes and heroines of this book."2

They come from a long line of defiant heroines, including Elizabeth Bennet, Catherine Earnshaw and Jane Eyre. These women create the main complications of the plot, through their refusal to comply. They are more complicated than the later, more obviously revolutionary, heroines of the twentieth century, because they make no claims to be radical.

I really want to do roles that have some substance, and I hope writers give us that importance. I can't alone stand up and demand roles like that. It's a collective thing. Writers have to believe in heroines and understand that there's more to a woman than just her curves. It's not that they can't do it. They just choose not to.

She remembered the heroines of novels she had read, and the lyrical legion of those adulterous women began to sing in her memory with sisterly voices that enchanted her. Now she saw herself as one of those amoureuses whom she had so envied: she was becoming, in reality, one of that gallery of fictional figures; the long dream of her youth was coming true.

My parents told me any and every fairy-tale from all around the world. I usually gravitated towards ones with interesting, strong heroines.

I couldn't tell where the stories left off and the dreams began, her voice the voice of the heroines in my sleep.

Ruth Gordon was such a delight to watch in 'Rosemary's Baby' after I had first seen her in 'Harold and Maude.' And Ellen Burstyn is a hero of mine from 'Alice Doesn't Live Here Anymore,' The Exorcist,' 'Requiem For A Dream.' These women impacted me greatly as an actress.

She figured that any day now she was going to start feeling the simple composure of normalcy that Jane Austen's heroines always sought to maintain, the state described in those days as "countenance," and later as "being cool.

I think in YA there's sometimes a temptation to create heroines who are infinitely resilient and wise and confident because those are the behaviors we want to see teens embrace and maybe we want to see those things in ourselves.

The heroines in 'That's What She Said' are flawed, messy, damaged, hilarious and culpable and not really concerned about being acceptable to the audience in any traditional sense, which for me is what makes them all the more gorgeous. And the fearless truth of that is what makes it funny.

The key element in tragedy is that heroes and heroines are destroyed by that which appears to be their greatest strength.

Youth cannot imagine romance apart from youth. That is why the roles of the heroes and heroines of plays are given by the managers to the most youthful actors they can find among the competent.

I have a weakness for Catherine. Because she was the first of my heroines, and also because I invented her story, whereas "Marianne, a Star for Napoleon" was a command given to me by my Publisher for the bicentenary of Emperor Napoleon Bonaparte.