Quotes About Character

I've always toyed around with creating over-the-top lady characters in my head.

When you come in as the second overall pick, the last thing you want is for guys to think you believe you've made it. Because that's the farthest thing from the truth.

I'm really excited, because the character, Jules, is a really awesome character. I'm really excited to be playing her, and overall, I'm really excited to be getting back to my acting roots.

No matter how much I plan the overall arc of the character, you get there day one on the film and you shooting certain scenes first, and it goes completely different to anything you ever thought of, and then it's done.

With a series, you build the character as you go. When you've got a shorter project or a film, you know the overall arc from the beginning.

Accents influence a performance. If you look at Stanislavski, he says work from the in to the out, and I probably overall work the other way. I find an accent and a mood, and that influences the character massively.

I love Jim Tressel. I think he's a fabulous guy. He's overall been a strong example for all coaches.

It's always appealing to play a character that has to overcome himself as well as an obstacle. It makes the drama so much deeper.

I like roles of people who can overcome things because there's strength in that and an arc - and roles where they start in one place, and toward the end of the script they end up in a completely different place, so you've seen this growth and some humanity in the role.

I see music as an aid. It overcomes my internal editor, especially when the music evokes the character or the mood I'm trying to build.

There is always going to be depth and layers to people and that's what interests me in a character: when there is some problem to overcome, when there is a complication to understand in a person.

You never know what kind of person you're going to be faced with, and you never know what kind of obstacles you're going to have to overcome.

I really was a fan of his and always have been - his writing especially, you know? I think people a lot of times overlook that part, because he kind of got into that party character so heavy.

In fact, one of the descriptions of the character in the book is that 'IT' was not very good at replicating human emotions. And that's something that is overlooked in general.

I can't show false humility, nor be overly proud and ostentatious.

To be able to change from being essentially a bad guy into a really hot babyface overnight is very hard to do.

I'm naturally a loud person. It can be a bit overpowering.

As I heard out people who had done others wrong, I'd often wonder how a human allows his or her better judgement to override their conscience. When I share these feelings with my friends, they say, 'Everyone isn't like you.' But I think it's easy to assert your better feelings and not allow the darker side to dominate your personality.

After the 1960s and '70s, there were real doubts about whether a mortal man could handle the country's highest office. It had destroyed Johnson, corrupted Nixon, and overwhelmed Ford and Carter.

The time I heard the script for Hathiram's character in 'Paatal Lok,' I was sure it is one of the best characters that I had ever been offered. I am extremely overwhelmed with the kind of responses that I am getting for the performance.

What defines someone as a 'man' should not be the clothes they wear or how deep their voice is. It should be the content of his character, his strength in the face of overwhelming adversity, and his ability to still love and help others when the world has turned its back on him.

He was the kind of man who grew better looking the longer you knew him. Whereas Jesse began to tarnish the moment you took him off the shelf.

Raised from scratch on sandbanks, the city lacked deep roots. No wonder, to Roman eyes, that it had such a harlot character. Without custom there could be no shame, and without shame anything became possible. A people whose traditions had withered would become prey to the most repellent and degrading habits.

Robert Louis Stevenson presents a character who, in London at night, is astonished 'to walk for such a long time in such a complex decor without encountering even the slightest shadow of an adventure.' The urbanists of the twentieth century will have to construct adventures. The simplest Situationist act would consist in abolishing all the memories of the employment of time of our epoch. It is an epoch that, up until now, has lived far below its means.