Quotes About Persona

Who you are is less important than what you seem.

And they became cool, even though they were both rather short. -p. 205

Do you like my working persona? Saiman asked softly. An aesthetically pleasing combination of intelligence and elegance, wouldn't you say? Aren't we pleased with ourselves. Are you Chinese, Japanese, half-white? I can't tell, your features are neither here nor there. I'm inscrutable, mysterious and intellectual. He forgot conceited. Did you have any trouble getting that ego through the door? Saiman didn't even blink. Not in the least.

Voshak's hair, a pale blond braid, which he bleached, was his trademark. It made him memorable. That's how the slavers operated. They adopted costumes and personas, trying to make themselves larger-than-life and hoping to inspire fear. They counted on that fear. One could fight a man, but nobody could fight a nightmare.

When I was younger, I was fascinated by David Bowie, for example. he had created an entire myth around himself. It was as important as his music.

Artists take on an alias that's suitable for their style of music. Everyone had a nickname when they were younger.

Cock your hat - angles are attitudes.

As you evolve, you learn that wrestling is not necessarily about stunts or spots. You need to go out and show the audience that they can love you for the persona you are - not because of the risk you're willing to take or the jeopardy you're willing to put your body in.

I told somebody once, 'You don't want the Herschel that plays football... babysitting your child. When I am competing, I am a totally different person.'

Don't try to be somebody you're not because it doesn't work. If you try to be this perfect person or perfect persona of what you think that somebody should be when they're involved in public office, it's just not going to work. Just be yourself, stay true to your core values, and really just stay abreast of the issues.

On YouTube, I've stayed very limited with what I've been willing to share, so it's been very surface-level with Miranda.

The trick is not to become somebody else. You become somebody else when you're in front of a camera or when you're on stage. There are some people who carry it all the time. That, to me, is not acting.

If you're a comedian, it's a bit of a choice whether or not you want to be funny when you're not performing because it might feel disingenuous. In the same way, I don't show people magic tricks in social situations any more.

As actors, we get to hide. You can change your hair and your accent, and it's not you. You have tricks, these masks.

If you can write a character who is attractive but morally reprehensible, then you've got a character. It's got to feel like people I know and it doesn't just become a bag of tricks.

It's been a bit tricky trying to establish a 'designer' profile and not a designer-cum-girl-around-town.

I realized that I needed to be anonymous on the street and somebody else on the stage. I had tried to put my street self on the stage, but what they want is an actor on stage.

One night in a club in Boston, I tried the name Roger Duck. No laughs. The next night, I tried Orson Bean, putting together a pompous first name and a silly second name. I got laughs, so I decided to keep it.

I'm drawing the gossip surrounding the celebrity, or the image the celebrity tries to push on us.

A conventional playwright tries to tell you more about the characters than they know about themselves.

Outside the ring, I am Gennady, but when I get in, I am Triple G: I become a different guy. I don't know how I switch, but I understand my job, I understand the situation, and I understand my business.

Whenever I went to England I always see the man inside George Best. I knew that George - not the famous person with his troubles on the outside.

I dressed more like a pop star, I suppose, rather than the traditional blazer and tall trousers other players went for.

But when you truly get to know me, I'm a good guy. I'm not the bad boy people think I am.