Quotes About Character

I'm Brian a lot more than I'm Paul Walker, which is awesome. When I hear, 'Hey Paul Walker!' my hair stands up on the back of my neck. It's uncomfortable. But when I hear, 'It's Brian!' it's cool. I like Brian.

The president I came to know best was George Herbert Walker Bush. No. 41 in your program, No. 1 on your list of fast-playing golfers.

I think even a hero is someone who has sort of the flaw or imperfection of character. I remember Alice Walker saying that once - she'd written a novel about a civil rights hero, and it was someone who had this flaw, this central flaw.

Could the young but realize how soon they will become mere walking bundles of habits, they would give more heed to their conduct while in the plastic state.

I'm not a walking extra in a Chekhov play; I'm no Slavic gloom or Irish gloom.

I don't really read any comics, but when I got casted on the show, I starting reading 'The Walking Dead' comics. I felt like I needed a better idea of the character.

I'm a feminist. The women in my books in recent years have been powerful characters and I love to see a woman with a cute bottom walking past.

The beauty of 'The Walking Dead' and the beauty of being on a television show for a while, is that, it's your backstory, it's part of what you are, it's what you carry with you every day.

I see no reason to quit. I can't imagine walking away from being Big Bird. I mean, that's an awfully good job that there's not too many of them. So I just want to keep doing it till I can't do it anymore.

Sometimes you are the only living, walking, breathing version of the Bible that people will ever see. What long-lasting taste are you going to leave in their mouths? A lot of people have left a bad taste. And it's so unfortunate, because God is the best!

I describe my plots as follows; A character is walking down the street when all of a sudden a piano falls on them. They spend the rest of the story digging out from under that piano. How they dig, how long and how well, this all depends entirely on the character.

When you get all this stuff on and you put on the guns and the hair, it has an effect on the actor. It tends to lend a certain something to the way you feel as you're just walking around looking that way.

Walking into a show when I was 16, at that time when it was the No. 1 hit show, and replacing a character comes with so many expectations. I felt a lot of pressure with that.

There aren't that many people walking about who are a total class stereotype.

When I'm writing, I try to have the mask of my character on as I'm walking through the world.

We have these rules, the 'hero rules.' Like, a hero doesn't slouch. A hero walks proudly with his head up. A hero walks with a purpose. A hero's always a gentleman.

I do novels a bit backward. I look for a situation, a milieu first, and then I wait to see who walks into it.

I'm not afraid of taking long walks. A lot of people want to be great, but they want to cheat to get to the greatness. I'm cool with talking the walk around the block to get to where I want to go as opposed to the cheat, because the cheat has flaws.

You spend so much time developing a character when you do a film; so much of your work is done before you get set to shoot because you've been working on the character: the way he walks, the way he talks, what might upset him, what might make him happy.

The play is on top of me all the time, and I am constantly thinking about it. Even when I leave the theatre, I'll mumble the lines to myself or think about the way the character walks or holds himself.

The anti-hero walks the morally gray path and constantly flirts with redemption, and that flirtation is just a blast to write.

I think we're so advanced when it comes to watching narrative material. I mean, it's all we do is consume content all day long. So when a character walks onscreen, you immediately start making connections for that character: Is that a good guy? Is that a bad guy?

There's a certain relief to just being the guy who puts on the costume and walks onset and gets to prance or stomp around in a Ridley Scott or Baz Luhrmann movie.

I have to say, working with Dan Stevens in 'The Guest' and seeing his transformation was incredible. Also Kate Winslet. Off set, she's loud and sweary, but when she walks on set, she has this calmness and is so centred.