Players that tend to respond to adversity the right way and triumph in the end are players with strong character. If you have enough guys like that in the clubhouse, you have an edge on the other team.

Discipline is training that corrects and perfects our mental faculties or molds our moral character. Discipline is control gained by enforced obedience. It is the deliberate cultivation of inner order.

I have my ethics and morals. I have my anchor point of what is right and wrong in real life, but I'm not afraid to entertain any and every aspect of personality in relationship to creating a character.

The normal is what you find but rarely. The normal is an ideal. It is a picture that one fabricates of the average characteristics of men, and to find them all in a single man is hardly to be expected.

When a novelist or screenwriter is looking for a subject, the element he's seeking is conflict. Conflict makes drama. Conflict produces great characters and memorable scenes. So war is a natural topic.

Dictators are ludicrous characters, and, you know, in my career and in my life, I've always enjoyed sort of inhabiting these ludicrous, larger-than-life characters that somehow exist in the real world.

In my ideal world, it would be a soulful connection to the role because you've shared a lot of the same experiences as the character and you just feel so right in it. That's the first thing I look for.

Masses of girls identified with Bella in a really profound way, for want of a better word. The connection that I've seen people have - I've seen it physically. It's the characters they're flipping for.

Part of our goal, in the episodes moving forward, is to deepen and dimensionalize every other character, to get into their relationships with each other, expand that stuff and really sink our teeth in.

I had no idea of the character. But the moment I was dressed, the clothes and the make-up made me feel the person he was. I began to know him, and by the time I walked onto the stage he was fully born.

When you're creating a character out of nothing, you have to make all the guesses as to how they walk, how they talk, how they think. It was all there on the table for us to pick and choose for Murrow.

The characters you refer to as predatory and unsavory are useful. They're the ones who make a novel into a thriller. They're active, and most of the common virtues, the signs of a good person, are not.

It's not as if the stories merge to a point where you think they are your life, but you do let them in the front door and the back door, and it's okay that sometimes certain characters stay for dinner.

If you’re reading to find friends, you’re in deep trouble. We read to find life, in all its possibilities. The relevant question isn’t ‘Is this a potential friend for me?’ but ‘Is this character alive?'

I've always wanted to do characters that would help me find my connection with others and connect all of us together. You always want the energy of the character, the spirit of the person, to enter you.

I'm extremely happy, but I don't do love songs for the most part. It feels weird; that's such a personal thing to me. I'd rather live that in my real life and play a different character outside of that.

All actors have to believe that our characters have a point that makes sense. Hopefully, they make sense to the crowd watching it, but at least he has to make sense in his own mind, in his own universe.

When I'm writing a novel, I'm dealing with a double life. I live in the present at the same time that I live in the past with my characters. It is this that makes a novelist so eccentric and unpleasant.

But there's the paradox of fiction - why do you cry when a fake character dies? It's the basis of art. You engage with people who don't exist and care about them as you would your friends and relatives.

There is in youth a purity of character which, when once touched and defiled, can never be restored; a fringe more delicate than frost-work, and which, when torn and broken, can never be re-embroidered.

I base everything on my own life experiences as a female. I start from there, and then I look for characters and settings that I think are cinematic, where I can use symbols and imagery to tell a story.

I always wanted to be a character, when I worked at Disney, but I wasn't short enough for certain characters and I wasn't tall enough for others. I wanted to be a chipmunk; I think 4'10" was the cutoff.

I just love Kate. [Bieber], to me, is one of the funniest impressions because it's so all encompassing. It's like a total body and soul impression. But that's Kate. Every character she does is that way.

There's something to play if there's conflict going on. Whatever that conflict is, that's where drama is; if the character is grappling with something you've got something to play, there's layers to it.

A man may carry the whole scheme of Christian truth in his mind from boyhood to old age without the slightest effect upon his character and aims. It has had less influence than the multiplication table.

In general, the auditions I go up for are very sparse, I guess because of my ethnicity. And the characters are very similar: shy, innocent and naive; the connotations that come from the way that I look.

We go to the mountain for enlightenment, for self-realization, for adventure, for discovery. It's pregnant with meaning. When people see a mountain, they invest it with meaning. Not plot. Not character.

The thing to me that's fun is trying to make the characters seem believable, or realistic. And it's especially challenging when you're doing fantasy stories, when you're doing superhero types of things.

I feel like Twitter was tailor-made for me, because I can do short spurts all day long. I loved my blog, but doing daily, then thrice weekly entries was really time consuming. 140 characters is perfect.

I don't think of my characters as people I create, I think of them more as people I have met and whom I'm exploring on the page. I don't actually think of myself as having 'created' any of these people.

I never write my stories as a wake-up call as such. I simply explore the kinds of situations that I find personally challenging by placing characters into situations that challenge them in similar ways.

Finding places to perform was definitely the biggest challenge. Trying to find my voice over the years was a big thing because when I started I was just doing characters and impressions and that was it.

It's difficult to make a movie about a complicated, non-traditional female character. We see a lot more movies with male characters who are at that point in their lives, but not that many about females.

As always, with acting, you can't be too self-conscious. You shouldn't care about what people are thinking about you at the time because they're not caring about you, they're caring about the character.

Every once in awhile I like to play dark ladies, crazy ladies, but most often I look for characters that are strong, intelligent, caring - usually earth women, because that's basically how I see myself.

Music has the power of producing a certain effect on the moral character of the soul, and if it has the power to do this, it is clear that the young must be directed to music and must be educated in it.

A man's reaction to his appetites and impulses when they are roused gives the measure of that man's character. In these reactions are revealed the man's power to govern or his forced servility to yield.

I think one of the most important American films is "Jackie Brown", which is such a humble depiction of humble characters but so powerful. The film was pure depiction of the American poverty of the 90s.

Many of my short fictions use theatre as a metaphor for situations in which characters find themselves estranged from the larger, uncontrollable world that may or may not lie beyond the proscenium arch.

There is a beauty bestowed in some degree on all God's saints who pray much which is of the same nature and is the most precious of all answers to prayer. Character flows from the well-spring of prayer.

Strong female characters - even if they don't necessarily make the same decisions that we might - make such great narrative material, especially when there's an equally strong male character in the mix.

Many novelists take well-defined, precise characters, whose stories are sometimes of mediocre interest, and place them in an important historical context, which remains secondary in spite of everything.

If a character is going to end up one way, you start them a certain way. If they're gonna end up the polar opposite of that, you might start them differently to have dramatic integrity to their journey.

Ralph Angel, for me, was about getting in touch with the similarities between the characters. I felt like he was a human being that I knew and [somebody] that I've been and am currently still exploring.

Although genius always commands admiration, character most secures respect. The former is more the product of the brain, the latter of heart-power; and in the long run it is the heart that rules in life.

There is always that potential in the same way - Roddy McDowall ended up playing Cornelius to Caesar [in the Planet of the Apes]. Two different characters. That's the joy of the craft. Bring it on I say.

Money alone cannot build character or transform evil into good. It cries for full partnership with leaders of character and good will who value good tools in the creation and enlargement of life for Man.

Contradiction is the heart and soul of character and drama. You're always looking for it. I loved her so much I hit her; that's character. I loved her so much I hit her again; that's even more character.

The goal was to create a mood, an atmosphere, and I think we have achieved that. We wanted people to not only get in touch with this character but also with themselves [in Wyatt Earp and the Holy Grail].

I have nothing but contempt for the deceitful thing men call 'happiness,' and find myself with no choice but to push my characters, whom I pour my heart and soul out to create, into the abyss of tragedy.

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