It's so reassuring to have a woman heroine who triumphs with more than just what she has on the outside who has more to offer the world than just a pretty picture.
Unless we believe in the hero, what is there To believe? Incisive what, the fellow Of what good. Devise. Make him of mud.
Napoleon was indeed the man sent by God to help the youth of France! Who is to take his place?
There are very few heroines in literature who have defined their lives morally rather than romantically and likewise but a handful in film.
Wonderful women! Have you ever thought how much we all, and women especially, owe to Shakespeare for his vindication of women in these fearless, high-spirited, resolute and intelligent heroines?
[Lauren Ambrose's] character [in Can't Hardly Wait] feels real and unexaggerated and becomes sort of a heroine archetype. I think that was cool. It wasn't in every one of those comedies.
I've always thought that, as a romance writer, I had the best job in the world. I sit around all day making up emotion-drenched, conflict-laden stories that push my heroes and heroines to the edge of sanity. Then I give them a happy ending.
The condition-of-England question is a practical one. The condition of England demands a hero, not a poet.
A hero's love is as delicate as a maiden's.
Fairy tales have always been about getting through the worst of everything, the darkest and the deepest and the bloodiest of events. They are about surviving, and what you look like when you emerge from the trial. The reason we keep telling fairy tales over and over, that we need to keep telling them, is that the trials change. So the stories change too, and the heroines and villains and magical objects, to keep them true. Fairy tales are the closets where the world keeps its skeletons.
'Heroine' is about a declining and imbalanced superstar - a very brave and bold role. I wanted to test whether I could carry a role like this. I have given 200 per cent to this role. She's a very complex character, very aggressive, manipulative and bold, yet she's very fragile.
I am a feminist, and I didn't think women would accept a throwback heroine.
I think I will always feel a special relationship with The Umbrellas of Cherbourg, because for me it was something very, very special. It was a modern opera, and to play the heroine in a film that became such a success at a young age, and learning from him when I was so young and impressionable - really it was one of my most important experiences.
Sylvia Day spins a gorgeous adventure in A Touch of Crimson that combines gritty, exciting storytelling with soaring lyricism. Adrian is my favorite kind of hero--an alpha male angel determined to win the heart of his heroine, Lindsay, while protecting her from his lethal enemy. Lindsay is a gutsy, likable woman with paranormal abilities of her own, as well as a dedication to protecting humanity against a race of demonic monsters. This is definitely a book for your keeper shelf.
I think I'm up for not trying to play a literary heroine. I think I'd rather just do someone that has just been created in a script, rather than in a book that everyone knows and loves. The difficulty with it and the reason these characters are so loved is that every woman and man that reads it understands it in a different way. They're so relatable, but different aspects will be drawn from different people.
I don't quite understand what Tolstoy's actual personal view of Anna is - whether he likes her or hates her, whether she's the heroine or the antiheroine.
There is no king or sovereign state That can fix a hero's rate; Each to all is venerable.
Heroes are born to be troublemakers.
No doubt Carlyle has a propensity to exaggerate the heroic in history, that is, he creates you an ideal hero rather than another thing.... Yet what were history if he did not exaggerate it? How comes it that history never has to wait for facts, but for a man to write it? The ages may go on forgetting the facts never so long, he can remember two for every one forgotten. The musty records of history, like the catacombs, contain the perishable remains, but only in the breast of genius are embalmed the souls of heroes.
I've got really prolific since I moved to Paris where I am living permanently, for the rest of my life, until I find another idea. I have really close women friends here: Valerie, Raymonde, not Joana so much, Maria Schneider, who was always a real heroine of mine who and has now become a close friend.
My heroines are always virgins. They never go to bed without a ring on their fingers; not until page 118 at least.
I believe that our lives, just like fairy tales - the stories that have been written by us humans, through our own experiences of living - will always have a Hero and a Heroine, a Fairy Godmother and a Wicked Witch.
The love story between the hero and the heroine has to be at the center of the book. I think that's pretty true in my books. I usually write a secondary love story, with maybe nontraditional characters. Sometimes I write older characters. I'm interested in female friendships, and family relationships. So I don't write the traditional romance, where you just have the hero and the heroine's love story. I like intertwining relationships.
In pulp fiction it is a rigid convention that the hero's shoulders and the heroine's balcon constantly threaten to burst their bonds, a possibility which keeps the audience in a state of tense expectancy. Unfortunately for the fans, however, recent tests reveal that the wisp of chiffon which stands between the publisher and the postal laws has the tensile strength of drop-forged steel.
For Fleur de Chine, I imagined the romantic and mysterious women from Asia's cinematic past-from the '30s femme fatale in a cheongsam and dark lipstick, to the'60s Hong Kong heroine of In the Mood for Love. I wanted to capture that fascinating, exquisite and slightly scandalous femininity.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: