Quotes of All Topics . Occasions . Authors
Of all people, children are the ones that really understand when there's a truth there for them - an emotional truth. The characters really have to work. Children, as an audience, are very inspirational for me.
The things that have always drawn me to the craft of writing is character, it's story, it's something that becomes like a pebble in my shoe, a voice that I just can't get rid of, and I've got to see it through.
I think main storylines are what always intrigued me, with those that were the relationships between the characters against whatever backdrop, whether it was in an ordinary universe or a universe in the future.
What really matters for success, character, happiness and life long achievements is a definite set of emotional skills - your EQ - not just purely cognitive abilities that are measured by conventional IQ tests.
What takes courage: no make - up. No make - up at all. Like The Matrix. I did the matrix and they had a rule all the characters in The Matrix, except the leads, of course, wore absolutely nothing on their face.
I prefer not to wink out from behind the character as myself, saying to the audience, "It's just me here, right, guys?" Peter Sellers is my model, and he didn't do that - he wore his character from head to toe.
I cannot tell what I am as much afraid of, as a woman who invariably washes on Monday. It is a kind of key to character; and if her mouth is not puckered and her brow wrinkled, they will be, unless she repents.
Every time you say yes to a film there's a certain percentage of your yes that has to do with the director, a certain percentage to do with the story, a certain percentage with the character, the location, etc.
Man can have strength of character only as he is capable of controlling his faculties; of choosing a rational end; and, in its pursuit, of holding fast to his integrity against al! the might of external nature.
In some ways, a novel isn't as structurally rigorous as a screenplay or a TV show, which have finite real estate. In a novel, you can more deeply illuminate a character's interior and get away with digressions.
Sam Seaborn is the best character that's ever been written for me, certainly. By far. And it's a timeless show [The West Wing], one that's having another resurgence now, with people so in an uproar politically.
The expression of a man's face is commonly a help to his thoughts, or glossary on his speech; but the countenance of Newman Noggs, in his ordinary moods, was a problem which no stretch of ingenuity could solve.
A sentence is born into this world neither good nor bad, and that to establish its character is a question of the subtlest possible adjustments, a process of intuition to which exaggeration and force are fatal.
Michael is a funny character, for whom I have a great deal of affection. He sat across his desk and seemed to be a bit of a blunt fellow. We began talking about the characters and he opened up about his vision.
If some people read my fiction and see it as fundamentally about philosophical ideas, what it probably means is that these are pieces where the characters are not as alive and interesting as I meant them to be.
I think it's necessary when you're dealing with a dark show that has explosion and violence to have defined moments of lightness and humor, even romance. It's important, and it deepens the character, of course.
To say that I am made in the image of God is to say that love is the reason for my existence, for God is love. Love is my true identity. Selflessness is my true self. Love is my true character. Love is my name.
When I was in theater I was forever trying to inhabit a space which puts yourself under the microscope as an actor and your personality and your take on life, but actually through another portal of a character.
You may not become a celebrity. You may even experience lots of illness or divorce, or unhappiness. But I think there is still a thread of individual character that determines how you live through those things.
The thing about Depeche songs is that they’re so descriptive. For me, they tell some kind of story about a character who’s trying to redeem himself or to find something to believe in-some kind of faith or hope.
Everyone always says, Does it bother you that Italians are always portrayed as Mafia characters? No, it doesn't bother me. First of all, not everybody in my family is in the Mafia. I have one uncle who's clean.
Arjun's character has brought discipline in my life. Now everything happens in my life well planned. Initially, I used to get up at any time, but now I get up at appropriate time, and I keep a check on my diet.
But the more we search the Scriptures, the more we perceive, in this doctrine, the fundamental truth of the gospel - that truth which gives to redemption its character, and to all other truths their real power.
Once I've got the first draft down on paper then I do five or six more drafts, the last two of which will be polishing drafts. The ones in between will flesh out the characters and maybe I'll check my research.
The thing about being an actor is that as we get older, there are more and more characters to explore and, in general, they get more complicated, so you get to bring all your crazy life experience to the table.
I never liked the whole idea of [creating your own] background, if it's not pertinent, where the character lived as a child, and who I was and how I was. That never helped me in any way, so I don't even do that.
The will of the capitalist is certainly to take as much as possible. What we have to do is not to talk about his will, but to enquire about his power, the limits of that power, and the character of those limits.
Narrative is so important for building the sexual tension. Can you imagine a horror movie that only shows the blood, with no context? I think women need to get to know the characters before they start stripping.
The script is a blueprint for the film - there are very few bad scripts that make good movies. If you really like the character and understand the utility it serves within the movie, that's a part of my process.
I can be really silly, but I never get to do that. I'm always playing on-the-nose characters, professionals - lawyers, a serious news anchor, people with a really focused energy, which can become a cliched type.
The within is ceaselessly becoming the without. From the state of a man's heart doth proceed the conditions of his life; his thoughts blossom into deeds, and his deeds bear the fruitage of character and destiny.
Rich men are neither better nor worse than all other humans. They contribute to greatness or mediocrity, strength of character or weakness in exactly the same proportion as persons in all other walks of life do.
My favorite new character isn't new, but more fleshed out - Gadd, the alekeep at the Tunnel. He's got him some teeth and tats. His history is hinted at in Discourse, and I plan to explore it more in later books.
When you start off with your first book, people assume that you're like all the characters in the book - and it does complicate things, when you're being constantly bombarded with it, but you have to embrace it.
I am a character, so that's the problem. There are many, many levels to how I behave. Some people might associate being Marilyn Manson as having lipstick on, but I don't really have some sort of other lifestyle.
I'd extend an invitation to Lisbeth Salander. She would definitely shake the party up and get it started. I think she is hands down one of the most original, innovative, kickass female fictional characters ever.
I want to be able to create characters for as long as I can and I want to tell stories for as long as I can but unfortunately I'm not given those opportunities because I'm often boxed into the former category...
You couldn't hope to make a drama and have people rewriting on the day and having the actors making suggestions, "Wouldn't it be funny if my character did this?" "No. You're the actor. I'll tell you what to do."
That immaculate manliness we feel within ourselves, so far within us, that it remains intact though all the outer character seem gone; bleeds with keenest anguish at the undraped spectacle of a valor-ruined man.
I found Uriah reading a great fat book, with such demonstrative attention, that his lank forefinger followed up every line as he read, and made clammy tracks along the page (or so I fully believed) like a snail.
My characters are usually composites. I wish I could pretend that I make up all of these characters, but no. I steal from people. But people will say to me, "Oh, that's me!" and I'm thinking, no, that's not you!
I type even faster than I talk. I'm very proud of that. I type so fast. And I have to because the characters are living in real time and I've got to keep up with them. It's a miracle they even give me a royalty.
It's necessary to track characters all the way through an opera. If you're dealing with more than one or two characters, it's very easy to forget that the others have lives of their own that feed into the story.
I think I've grown up in an era where character acting on film has become less desirable for the producers and directors and therefore the audience. They have got used to the people that those actors really are.
Music is music and I think music people are the delivers, the actors, when they put their music out they want to insert their character in it. So they call it such and such so you know how they live so to speak.
Character isn't inherited. One builds it daily by the way one thinks and acts, thought by thought, action by action. If one lets fear or hate or anger take possession of the mind, they become self-forged chains.
You are not just anyone. One day, you're going to have to make a choice. You have to decide what kind of man you want to grow up to be. Whoever that man is, good character or bad, it's going to change the world.
The first thing I read was of my character on the phone talking to Sydney's fiance. Though short, it was so beautifully written, and it made me laugh. I thought if I wanted to play a character, this would be it.
The female love interest is boring to me. A female that's interesting, smart, funny - that's what I'm drawn to. I wouldn't say that every character has to be smart, but she has to have one trait I can relate to.
[New York] is a city largely based on great skyscrapers, and they will always be the essence of New York. That won't change, just as the character of the people who live here will not be altered by this tragedy.