Character Emotions Quotes

As actors, you don't actually need to know the future of the character. You just need to know the backgrounds.

When I create characters, I create a world to inhabit and they begin to feel very real for me. I don't belong in a psych ward, I don't think, but they become very real, like my own family, and then I have to say goodbye, close the door, and work on other things.

'Yeh Hai Aashiqui - Siyappa Ishq Ka' has become a part of who I am. I will be narrating the stories, and as a narrator, I get to experience each story up close and personal and go through the same range of emotions as the characters.

Movies are about people; there're not about ideas. It's like great novels. Great novels are not about ideas. There's never been a great novel about ideas.

You just play what a writer writes, in terms of what a character chooses to do and how a character chooses to deal with their various relationships.

Beware 'good' main characters who have a limited repertory of culturally acceptable feelings, while your evil bastards have a full range of vivid, passionate feelings.

I didn't want 'BSG' to have to rewrite Anders as a sniveling, whining ball of despair who's hiding out in the corner.

There were time when I was into method acting that I did have moments of residual character emotions, because the method bases your emotional responses as a character on emotional experiences from your real life.

A laughing Lear would be monstrous. Not so a laughing Romeo and Juliet.

In our animation we must show only the actions and reactions of a character, but we must picture also with the action. . . the feeling of those characters.

I like period drama because everyone is so restrained, but they have all these emotions raging underneath.

I take great pride in the artistic development of cartoons. Our characters are made to go through emotions.

I'm not angry; I write about angry characters. When I'm doing that, I'm happy. Just like when I'm writing about Mickey Sabbath being lustful, I'm not feeling lustful; I'm happy.

Definitely, my approach is me-oriented. I feel like my job is to safeguard the believability of the emotions of the character.

There are a couple of writers I admired who were very good at giving the character's emotion without stating what that emotion was. Not saying "He was feeling tense," instead saying, "His hand squeezed harder on the chair arm," as if staying outside the guy. I wanted to try doing that. I wanted to have a really emotional story in which the characters' emotions are never straight - out told to you, but you get it.

For me, I always have to establish a reality for the character. In very actor-y terms, you just have to understand his reality.

Half of a broadcast show, in my experience, is things happening, and the other half is people talking about how they feel about the things that happened. And so there's this sense of everyone saying their subtext out loud.

When you know psychologically what [characters] are feeling, then that plays out on how you dress a lot of times.

Movie characters rarely get to think out loud or talk very much about their emotions. Instead they have to, very briefly, show their feelings through their action or through dialog.

I found out was, by the rhythm of my chewing, how I chewed fast, slow or what have you, I could tell the audience what my character was thinking and feeling.

You love all your characters, even the ridiculous ones. You have to on some level; they're your weird creations in some kind of way. I don't even know how you approach the process of conceiving the characters if in a sense you hated them. It's just absurd.

My books are love stories at core, really. But I am interested in manifestations of love beyond the traditional romantic notion. In fact, I seem not particularly inclined to write romantic love as a narrative motive or as an easy source of happiness for my characters.

You can start imagining all kinds of things characters would feel, but you have to have a sense of whether those imaginings might be right.

If I wasn't an actor, I never would have known who Debbie Gallagher was. I never would know how her feelings are or how her emotions are, or her family.

Any composer should be able to synthesize the primary feelings that the characters are going through in the movie.