Quotes About Character

As far as characters are concerned, Alan Partridge makes me wet myself. I'm currently reading the book and have started talking like him as an unfortunate consequence.

I have played on cold, wet nights at the end of the earth in midweek, and it is character-building stuff, but I wouldn't have had it any other way.

Eighteenth-century matrons would have never have dreamed of appointing a redhaired wet nurse for their precious offspring - redheads passed on their horrible characters through their milk.

I used to get stuck trying to find the first sentence of a story, then I realised that it was often because I didn't know what problem a character was facing in the story. As soon as I did, I could have the character trying to do something about it or have the problem whack him between the eyes.

If you're playing the character, you could say to yourself in 16 different ways, What if that didn't bother me? What if I knew exactly what he was talking about? What if I didn't get excited?

I love auditioning. Since 'The Notebook' and 'Wedding Crashers,' I don't have to audition anymore, and I miss it. You get to show your interpretation of the character. I get nervous when I don't audition. What if they hate what I want to do?

What are the two biggest things online? Selfies and emojis. We're combining them. Instead of sending some character that means nothing with a hat - what if it was your face doing something? Me-moji.

There are two questions that you ask yourself as a writer, and one of them is, 'But why?' The question that takes the book forward is, 'What if? What if x y or z happened? How would those characters react?'

That's right; I was watching 'From Russia With Love', one of my favourite Bond movies, and suddenly thought that I'd love to see a version of this from Tatiana Romanova's point of view. Or, better yet; what if she was the hero? What if this was her story, and Bond was just a side character?

No matter what, if I'm playing or not playing, I'm still going to be the same person, be that leader.

The man who cannot believe in himself cannot believe in anything else. The basis of all integrity and character is whatever faith we have in our own integrity.

Whatever things you go through, you stay true to who you are and your core values.

Whatever seeds each man cultivates will grow to maturity and bear in him their own fruit. If they be vegetative, he will be like a plant.

It's the first villain that I've played in a movie that has absolutely no vulnerability and no innocence, nothing whatsoever that is likeable about her other than she's so bad.

A while ago, I did a television adaptation of 'Bleak House,' and the character I played, as far as I was concerned, had no redeeming features whatsoever. I wasn't about to try to find any; I didn't need to.

I'm not - I'm not a person looking for money. I have no political ambitions whatsoever. I don't seek power. I don't seek any kind of praise. I have no ego to fulfill.

I've become really good at turning down the boring, pretty girl roles, the trophy wife, supermodel, beautiful girlfriend roles. I mean, playing somebody who's perfect holds no allure for me, whatsoever. It's just boring.

My role is to just tell the highest degree of truth with every character and every story. From there, I have no clue whatsoever how things are going to turn out.

There's something really freeing about playing a character that isn't even, like, remotely likeable whatsoever.

How many big American films do you see where the heroine has no vanity whatsoever?

'Dragon Age' needs to have big story moments. It is a game about character first, and the party is an absolutely central part of that. I want to keep pursuing interactivity with the world: taking crowds to the next level or having things catch fire because you indiscriminately cast a fireball into a wheat field.

As threshing separates the wheat from the chaff, so does affliction purify virtue.

You know, the truth is that us actors would all like to believe we re-invent the wheel, every time we play a character. But, we're human beings and our instruments are not violins, they are our bodies and our consciousness and our collective life experience.

It's an interesting plot device to enter in a third wheel - it always helps raise the stakes for all parties involved. But often, those characters can be one-dimensional.