Quotes of All Topics . Occasions . Authors
I strive for what you do find in Shakespeare's work - that there is a definite humanity and a definite character behind the writing in the sonnets, and it's very real because it's so deeply personal. I try to aspire to that in what I do.
The polite of every country seem to have but one character. A gentleman of Sweden differs but little, except in trifles, from one of any other country. It is among the vulgar we are to find those distinctions which characterize a people.
Every time I'm in editing, there's always a moment where you think, "Maybe this should be six or seven minutes shorter, but I'm losing character and story that I think is important." When I like things, I'm not in a rush for them to end.
I just think there's always room for humanity in acting, one can only hope, so when you bring in the whole life of a person that's playing a character, then surprises happen and are allowed to happen, and so it makes it more interesting.
As a writer I want everybody to get a chance to voice their opinions. If each character thinks that they're telling the truth, then it's valid. Then at the end of the film, I leave it up to the audience to decide who did the right thing.
We don't condone it, but it happened. Is there a concern Yes, there is a concern. People are going to think what they think. But the reality is, I know the players we have, I know the character we have. We're recruiting the right people.
I love music. I think music is a big inspiration; I listen to it a lot when I'm writing. I really love cinematic music. A lot of the time, I make playlists for my characters when I act. I also make playlists for the scripts that I write.
The truth is, everything ultimately comes down to the relationship between the reader and the writer and the characters. Does or does not a character address moral being in a universal and important way? If it does, then it's literature.
Clowning is a trick to get love close. I can hug 99 percent of people in the first second of contact if I'm in my clown character. The clown assumes your humanity. It assumes that, whatever trauma you've had, you can still love yourself.
Take your time and make sure the person who you do intend to have sex with is someone you deeply love and care about, and make sure you get to know them as much as you can, and make sure by having sex you don't compromise your character.
It's the one thing, a compromise I guess. On network it's the one thing you can't smoke on network. That's one of his character traits. We're working around that. We're trying to get aspects of it in there as much as possible. We'll see.
It is not for nothing that Skaldin in one part of his book quotes Adam Smith: we have seen that both his views and the character of his arguments in many respects repeat the theses of that great ideologist of the progressive bourgeoisie.
If you look at everything I've done, each character is so wildly different from each other, and that's what "The L Word" afforded me the opportunity to do. I want to continue to play characters that are not like me at all, and transform.
So it was doing all this research or going to the archives or doing all these interviews or traveling, and then trying as much as I can to delete all of that research in a later draft so that all the reader cares about is the characters.
Hitler's success was not based on his extraordinary gifts alone. His genius was an intuitive sense of the mushiness, the character flaws, the weakness masquerading as morality that was in the hearts of the statesmen who stood in his path.
It kind of varies. I don’t have a method yet. It depends on the script and the character I think I need. I’ve worked with acting coaches, researched roles, and channeled different parts of myself. It’s on a case-by-case for me, right now.
I've been very lucky enough to do all kinds of movies. All the movies that I've done have been very different, and all the characters I've done have been very different. I feel very lucky to have been able to do the movies that I've done.
For me, intrigue is a pretty powerful emotion. If you want to know more about a character, if you want to understand how they work, then you have enough curiosity to delve into their skin and their being. That was the biggest pull for me.
I do have shout-outs to bands and musicians I like in my books, but the musical references can be misunderstood. Often, I have people listening to music that I would never listen to personally, because it fits and defines their character.
I directed 24's pilot. I felt we should follow the characters around as if we were a documentary crew, using available light, hand-held cameras, split screens, sound that isn't always what it should be, to suit the reality of the premise.
There's an institution here called the National Sound Archive, and there's a character who works there, Paul Wilson. He takes a very special interest in the history of the music and advised Martin Davidson of the existence of these tapes.
I sometimes find that my family's emphasis on stories, characters, and art that appeals directly to children rather than over their heads to adults is not fully appreciated by parents who may have more narrowly adult concerns and agendas.
I wouldn't think of my characters' moralities at all. And I think I identify fully with every main character I've written about and would say that I am them pretty much. So in terms of that I don't think I'm similar to Bret Easton Ellis .
Il ne faut point donner d'esprit a' ses personnages; mais savoir les placer dans des circonstances qui leur en donnent. You should not give wit to your characters, but know instead how to put them in situations which will make them witty.
I'll see a photograph of a character and try to copy them on to my face. I think I'm really observant, and thinking how a person is put together, seeing them on the street and noticing subtle things about them that make them who they are.
The constraints of melodrama can be a great blessing, because they demand that all the characters involved - as absurd and extreme as they may initially seem - must stay utterly rooted in their own reality, or the whole project collapses.
With all of the qualities of the scene-setting, the dialogue, the place and time and the time and place in which your characters move. And I want to move with the characters, move with them and describe the world in which they are living.
Trust is a function of both character and competence. Of course you can't trust someone who lacks integrity, but if someone is honest but they can't perform, you're not going to trust them either. You won't trust them to get the job done.
You're playing a character in a drama who happens to be based on someone who existed. It's never going to 'be' that person, but it's based on someone well-known, and you want to create enough of that person for it not to be a distraction.
If there is a book that the script came from you have to read it, you have to see what you can get out of it: mood, back story and things that may not even be in the film. They kick off your imagination and broaden the character, I think.
Character is the salesperson's stock in trade. The product itself is secondary. Truthfulness, enthusiasm and patience are great assets to every salesperson. Without them, they couldn't go far. Courage and courtesy are essential equipment.
I think you've really got to cling to what makes sense to you. Obviously, I'm not a serial murderer in my real life, so that's where you have to delve into and do all the research. But, you have to find something likable in the character.
Avant-garde theatre, with its distrust of the individual (that bourgeois invention), tends to go beyond [character] and the psychological approach in search of a syntax of types and characters which are "deconstructed and post-individual.
As minister of finance, Mr. Flaherty served his country with dedication and conviction, even as he faced mounting health challenges. As both a man and a politician, I will remember him for his pleasant demeanour and strength of character.
Neorealism taught us to follow the characters with the camera, allowing each shot its own real interior time. Well, I became tired of all this; I could no longer stand real time. In order to function, a shot must show only what is useful.
The only equitable manner in my opinion, of judging the character of a man is to examine if there are personal calculations in his conduct; if there are not, we may blame his manner of judging, but we are not the less bound to esteem him.
No matter what he does, one always forgives him. It does not depend upon looks, either – although this actual person is abominably good-looking – it does not depend upon intelligence or character or – anything – as you say, it is just it.
It's funny, I used to do a character that was just a baby - just an adult baby. I would get up onstage and complain about adult stuff, but as a baby. I was in a diaper, and I would require hugs from the audience and reassurance and stuff.
Everybody said, You hit it so big when you were on Ally McBeal. I didnt do anything for a year after Ally McBeal, and I had to write David Kelley to get myself back on Ally a second time because I thought the character should be on again.
The first theme that every audience can get easily everywhere in the world is the theme of judgment. You are constantly judging if this character is doing something wrong or right, or the other character is doing something right or wrong.
I think my biggest problem, though, at least in drafts, is not repeating myself. After eight books I get worried that a character or piece of dialog might be too much like something I've already done. So it's a challenge to keep it fresh.
With both Caddyshack and Vacation, it's not like the subjects were serious enough that they engaged my interest for another round. I love the characters, and the actors were great, but I didn't see the need to make another Vacation movie.
For my wrap present, Colin Farrell gave me a first edition book. I got so involved with this character and I was so sad when the movie was over that when I got home and I tried to read the book I got really emotional and I started crying.
God takes great delight in surprising His people with His goodness. He delights in being there for us, in coming through for us. He loves to give us the good gifts of His provision and grace that reveal to us His nature and His character.
Being an actor myself I realize that all actors believe they are qualified to play any role. If you showed me a script with a black woman character I would tell you that I could do it. That is what we do. We act as if we are someone else.
Sometimes you can incubate a character and that can take me a month just sitting on it imagining it, doing everything from sketching it to taking long walks, but sometimes you can see the character immediately. A lot of it is instinctive.
Good character is more to be praised than outstanding talent. Most talents are, to some extent, a gift. Good character, by contrast, is not given to us. We have to build it, piece by piece - by thought, choice, courage, and determination.
I tend to be attracted to characters who are up against a wall with very few alternatives. And the film then becomes an examination of how they cope with very few options. And that's, I guess, what interests me in terms of human behavior.
I still get stage fright horribly. I still get nervous. I do tend to find when you're playing characters, often - just for the time you're playing them - there are sides of your personality that get stronger because you draw on them more.
I have no idea who the characters are, later, their personalities take over anything I might want to do. I end up writing not from my own will, but from theirs-they come alive as I write and make me do things that I couldn't have planned.