Quotes of All Topics . Occasions . Authors
A true politeness does not result from any hasty and artificial polishing, it is true, but grows naturally in characters of the right grain and quality, through a long fronting of men and events, and rubbing on good and bad fortune.
Elijah can register such subtle emotion on his face that I loved doing close-ups on him. He really brings a superb emotional level to Frodo's scenes and although he is a very instinctive actor, we discussed the character thoroughly.
We've been pretty successful over the years, not necessarily adding series regulars, but just bringing long-term recurring characters. In my opinion, it's sort of like as life goes, you have people that come in and out of your life.
A vital team characteristic is the ability to overcome adversity. Any team acquires experience and endurance as it learns to fight back. This in turn builds the kind of character which seldom crumbles at a time of crisis or testing.
I thought depression was the part of my character that made me worthwhile. I thought so little of myself, felt that I had such scant offerings to give to the world, that the one thing that justified my existence at all was my agony.
A woman in agony of spirit might turn her head just so; a man in deep humiliation probably would wring his hands in such a way. From straws like these, drawn from completely different sources, the fabric of a character may be built.
I never contemplated. I just went in there and did my acting. I never thought, "What's the character actually feeling here? What's he trying to get across?" And never looked at it from that classically trained actor's point of view.
If you look to lead, invest at least 40% of your time managing yourself - your ethics, character, principles, purpose, motivation, and conduct. Invest at least 30% managing those with authority over you, and 15% managing your peers.
If something I make succeeds, people say it was luck. But I don't just throw myself into the unknown. I research my subjects and listen constantly to what the characters have to say. Luck comes into it, but the story is made by them.
We do a lot of scenes like say proposing a girl, but you know it is done technically - you don't feel anything. But sometimes I feel bad, maybe when my parents see me play this character and shouting at a girl, they might feel weird.
I just love real characters; they're not pretentious, and every emotion is on the surface, they're regular working people. Their likes, their dislikes, their loves, their hates, their passions; they're all right there on the surface.
A writer has to stand outside the page. It's not for the writer to shed tears onto the pages for these characters. It's not for him to suffer or to laugh or to experience ecstasy or agony in the manner of the characters on the pages.
Everyone loves the seventies because that's when movies were character-based, and you saw great characters and you saw very interesting filmmaking. There are interesting movies being made now, but it's harder and harder to make them.
It was nice to see someone who appreciated her for her character, no matter how disgusted Christian was by the idea of ANYONE dating his aunt. And I actually kind of liked seeing Christian so obviously tormented. It was good for him.
It is a mournful fact that most men, and indeed all men of worldly character, have so much regard to public opinion that they dare not act according to the dictates of their consciences when acting thus would incur the popular frown.
Just because I’m telling a story about a woman losing faith is not my rebellion against what I grew up in. If anything, it really affected the way I approached the story, and in fact, approach everything. I don’t judge my characters.
Love is the expression of one's values, the greatest reward you can earn for the moral qualities you have achieved in your character and person, the emotional price paid by one man for the joy he receives from the virtues of another.
I see the beauty of people and the human soul in the pictures I take. And though the circumstances of some of the people I portray may be grim, back-breaking, depraved, the people themselves are always remarkable characters and souls
The flexible muscles growing daily more rigid give character to the countenance ; that is, they trace the operations of the mind with the iron pen of fate, and tell us not only what powers are within, but how they have been employed.
I came to realize that my money problems, worries, and shortages largely began and ended with the person in my mirror. I realized also that if I could learn to manage the character I shaved with every morning, I would win with money.
The Cry Baby character is so, like, based off of myself that it just really is just from personal experience. And when I was younger I was called a cry baby and made fun of for being super emotional and taking things way to personal.
Humanity has this need to hear stories because they connect us with other people, they teach us about our own feelings. We feel less lonely when we see other people going through the same things, even if they're fictional characters.
Each of my novels features a protagonist undertaking a difficult personal journey. On the way, each of these characters - mostly female - discovers something about herself and at the same time makes an impact on other people's lives.
And the glory of character is in affronting the horrors of depravity to draw thence new nobilities of power: as Art lives and thrills in new use and combining of contrasts, and mining into the dark evermore for blacker pits of night.
I used to search and search for that actor or actress who's exactly what's in my head. But you have to realize you have to cast whoever's super talented and super funny, and then the character has to become at least partially theirs.
I think that's what makes David Ayer really interesting. He likes to make a tough-y movie, but actually he's a character director. He's fascinated by the actual people who decide to have these jobs and the way it affects their lives.
What I think is at stake in 2012, is whether the five or six strong conservatives elected to the Senate in 2010 become 10 or 12. And if that happens, it will fundamentally shift the character of the Senate. It will shift the balance.
I spend a long time casting, but once I've cast a film there's a reason why I selected those people. So I'm hands-on in selecting the cast, hands-off to see what they do with their characters, and hands-on again to offer suggestions.
I love rehearsing because in rehearsals there are no mistakes, nothing is wrong, some things apply or lead you to focus on the character and the things that don't apply are equally valuable because they lead you to towards what does.
The worst evil is - and that's the product of censorship - is the self-censorship, because that twists spines, that destroys my character because I have to think something else and say something else, I have to always control myself.
There are epic impulses everywhere you look in There Will Be Blood; what's missing is character development, focused storytelling and, most significantly (apart from that terrific opening sequence), any sense of raw, intuitive drama.
Sometimes when you have to go into something, unless you're gifted and can just turn it on and off like a jukebox, you find someplace where there's nothing going on to get yourself into whatever state your character is entering into.
I just feel like I'm a part of a really cool group of ladies, really good actresses. And each of them kind of does it in their own way, but the character itself is such a great, strong lady that I like that they keep reinventing her.
I love scoring. Putting music to picture is a rewarding challenge and one that relies on interpretation of emotion - as in, what is the pivotal feeling in a scene and which character's point of view is driving it at any given moment?
All too much of the wage structure has been based on the time workers put in, rather than upon the product put out. The consumer dollar has no interest in how much time it buys-only in the character and quality of the product itself.
The fact that political ideologies are tangible realities is not a proof of their vitally necessary character. The bubonic plague was an extraordinarily powerful social reality, but no one would have regarded it as vitally necessary.
Physically, my character is stronger than him which is totally unrealistic, ... Because in reality he can ... kill me. I think it has a lot to do with (him being) the youngest of all of his brothers, and I think he got beat up a lot.
I stopped appearing as Dracula in 1972 because in my opinion the presentation of the character had deteriorated to such an extent, particularly bringing him into the contemporary day and age, that it really no longer had any meaning.
You cannot have good architecture merely by asking people's advice on occasion. All good architecture is the expression of national life and character; and it is produced by a prevalent and eager national taste, or desire for beauty.
There is nothing new, from Greek mythology to Shakespeare to every romcom ever made, we're just reimagining the same 12 story plots over and over again - so what makes people keep watching and listening? It's all about the character.
I've always kind of ripped from real life to some degree or at least how I'm feeling in the moment. In fact, maybe that's really it. In anything I've ever written, all the characters sound like me, which I don't think is a bad thing.
"Would you, do you, my dear?" rejoined the Captain ... "I don't know. It's difficult navigation. She's very hard to carry on with, my dear. You never can tell how she'll head, you see. She's full one minute, and round upon you next."
It doesn't matter if a character is a lawyer, a cop or a geography teacher. If there's a story in there, where the character has a passion and a fire in his belly and story to tell, then it's enough for an actor to get excited about.
Brands are useful ways of short-handing practically anything - look at the way Tom Wolfe first used brand name lists to sharpen up a character and a situation. Look at the most brand-referenced novel, Bret Easton Ellis's 'Glamorama.'
Look at the Coen brothers. All their minor characters are as interesting as their protagonists. If the smaller characters are well-written, the whole world of the film becomes enriched. It's not the size of the thing, but the detail.
We could think or feel as we wished toward the characters, or as the poet, discounting history, invited us to; we were the poet's guest, his world was his own kingdom, reached, as one of the poems told us, through the 'Ring of Words.
I would love to play a main character and then play different characters as well. I would want for it to be a sitcom, multicamera, audience - that's definitely a dream. It's in the works, so... it's closer than everybody thinks it is.
You don't get the pay-off when you're playing a quiet character, so sometimes you want to just throw out all your work and say, "Okay, let me do something really funny or gimmicky, just so that I can get some attention in this scene."
When you make a movie, everyone should leave their own personal problems at home. When they start bringing those to set, filming can be very difficult... You don't need any extra drama. Put the drama into the story, in the characters.
Coming from the theatre I have played some fabulous characters where I get to wear gowns and I get to be a princess or someone from the 1920s, or I get to wear showgirl costumes. I'm used to wearing a wardrobe that changes how I feel.