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California, that advance post of our civilization, with its huge aircraft factories, TV and film studios, automobile way of life... its flavourless cosmopolitanism, its charlatan philosophies and religions, its lack of anything old and well-tried rooted in tradition and character.
No one was ever the better for advice: in general, what we called giving advice was properly taking an occasion to show our own wisdom at another's expense; and to receive advice was little better than tamely to another the occasion of raising himself a character from our defects.
I dont have a favorite genre. I love to work and live vicariously through every character. Its all about trying to bring the character to life and get the story across in a way that resonates with the audience. Its always interesting and challenging in a gratifying and unique way.
Self-mastery is a challenge for every individual. Only we can control our appetites and passions. Self-mastery cannot be bought by money or fame. It is the ultimate test of our character. It requires climbing out of the deep valleys of our lives and scaling our own Mount Everests.
I am a professional actor and I don't go about moralizing about what the character does. Otherwise, seriously, why be an actor? You're not making some kind of social statement. That's not what actors do. They may inadvertently do it, but it's because of the script, not the acting.
I'm still kind of a hapless character in my everyday life. But when it comes to the writing, my influences are very old influences. I love American music of absolutely all stripes, including show tunes, advertising jingles, theme tunes from quiz shows, all kinds of American music.
I don’t find it fun watching someone trying to be sexy. It’s whack. I’m trying to just show my true personality, and I think that means more than anything else. I think when personality is at the forefront, its not about male or female, its just about, who is this weird character?
I love those preliminary conversations about who a character is. You try on wigs, shoes and clothes. It's preferable when it's not about looking pretty. It can get a little dull to just be cute. We talk about things like, maybe my character can't afford these Christian Louboutins.
I like The Smiths as well. They took a cue from The Buzzcocks. They have jangly guitars instead of distorted guitars. All the Manchester bands have a character about them. The Stone Roses and The Smiths and all that. Even if you don't like them, they have a certain original sound.
The purpose of a short story is ... that the reader shall come away with the satisfactory feeling that a particular insight into human character has been gained, or that his (or her) knowledge of life has been deepened, or that pity, love or sympathy for a human being is awakened.
You should remember that though another may have more money, beauty, and brains than you, when it comes to the rarer spiritual values such as charity, self-sacrifice, honor, nobility of heart, you have an equal chance with everyone to be the most beloved and honored of all people.
I think that in general - well, at least it's true for me - you tend to put something of yourself into the story as a whole. Not necessarily in any character, you understand. But you've got your own way of looking at the world, and that naturally will affect how you craft a story.
Usually I'm pretty myopic. It's hard for me to multi-task, so to speak. If I'm in a show and I'm creating a character, I'm just completely into that. It's really hard for me to do anything else like write music. I have to sort of shut down different sides of my head and just focus.
People are mystified by it and so they kind of think, the acting community thinks they're gonna be replaced by CG characters and animators think they're gonna be replaced by performance capture (and) a lot of directors, particularly European directors, who have no experience of it.
I'd always wanted to be an action heroine. That's a chick dream, getting to wear a leather bodysuit and be blonde and kick ass. But, what really attracted me to 'Dredd' was the script. It was fantastic! It was about people and characters, and not just about explosions and fighting.
For me, writing is an experience. It's an exercise in which I want to discover myself by taking my characters to the edges of human experience, to the edges of themselves and then, asking certain questions - about love, what does it mean to love? What's beauty? What is true beauty?
I don't think it's aiming at gags, I think the humour is woven into it. It's part of how the characters operate and how they deal with disaster because they're worldly enough to have a bit of irony and wryness about their own circumstances. So, I think the humour comes out of that.
I try to learn something from every character I take on. I try to better myself personally from it and Red allowed me to go ahead and accept what I did. Even though I had passion driving me, I still felt a little guilty that I gave up all the businesses in the pursuit of happiness.
Action choreographer is like talking. When you talk, you have a rhythm. When you act, you have a rhythm. When you're moving your body, you have a rhythm. So as an actor, as a choreographer, the objective is trying to blend everything in - into - ultimately back into that character.
The male intimacy and raw honesty was already developing on the page 'Oscillate Wildly' with these characters. Being explicit would not only distract and alienate certain audiences, it would limit who has access to the film, and that's something I think a lot about with this story.
I feel like some of the best talent is on TV right now, with the writing, acting and great directors. I've also been looking for the consistency of work that TV provides for you. And, I always thought it would be really interesting to live with a character for months, if not years.
Charity should be self-sustainable. That is, it should create more wealth rather than perpetuating the cycle of poverty and dependence. In this sense, the best form of charity would be providing quality education for children and more importantly, building a good character in them.
It has taken me nearly twenty years of studied self-restraint, aided by the natural decay of my faculties, to make myself dull enough to be accepted as a serious person by the British public; and I am not sure that I am not still regarded as a suspicious character in some quarters.
You know how they do that effect in movies, where they make it look like you have a twin, but it's really just the same actor playing both characters in the scene? I knew this would be the best route, but I just wasn't comfortable dressing as a woman, so I had to hire other actors.
Obviously, with a CGI character, you're building a character in much the same way as a real creature is built. You build the bones, the skeletons, the muscles. You put layers of fat on. You put a layer of skin on which has to have a translucency, depending on what the character is.
You can say "ass," but you can't say "asshole." That's why I always cringe when a character in a TV show refers to someone as an "ass." Unless you're British, calling someone an ass really doesn't work. But those are the rules of television. You can be a dirtbag, but not a scumbag.
Johnny Blaze was my character at OVW. I had all these fancy fire catchphrases: 'Call the fire department,' 'Get your fire extinguishers out, ladies.' 'By the time you hear the thunder, it's going to be too late because the lightning will have already struck.' That was all my thing.
I like playing characters that are complex, that are intriguing, that come from left field, that do things that are unexpected. I don't like people who just follow one line and that's it - that's why I could never be in a sitcom, I don't think. They're not intriguing enough for me.
No magic formula can completely prepare us for crises in life. However, each choice we make now will impact how we handle those crises in the future. Make your choice count. Dedicate time each day to developing your character. If you do, courage will be there when you need it most.
I look for the essence of a story and a human angle that I think audiences can relate to. I also look at how the dialogues flow in the film as a whole and between the characters, and most importantly I always consider what I can bring to the character from a creative point of view.
I like the big bombastic singers, but I'm also very drawn to what I call character singers. They're people who obviously aren't very huge singers, but they've got this ability to tell a story and touch you emotionally without really using any kind of histrionics or special effects.
A man is what he is, not what men say he is. His character no man can touch. His character is what he is before his God and his Judge; and only himself can damage that. His reputation is what men say he is. That can be damaged; but reputation is for time, character is for eternity.
Having a son with a disability helps makes Walter White a more sympathetic character. There's no story line that shows Walt Jr. going through the things that you go through as a teenager with a disability. It's always his relationship to other characters. That was my issue with it.
What I really love, is finding a script and fantasizing and going to a different world and kind of portraying a character that is interesting. Because other lives interest us, that's why we read magazines like People and try and fascinate and drool over what other people are doing.
There are almost no characters in this story, and almost no dramatic confrontations, because most of the people in it are so sick and so much the listless playthings of enormous forces. One of the main effects of war, after all, is that people are discouraged from being characters.
There is a certain artificial polish, a commonplace vivacity acquired by perpetually mingling in the beau monde; which, in the commerce of world, supplies the place of natural suavity and good-humour, but is purchased at the expense of all original and sterling traits of character.
Typically, when you look for role models, you want someone who has your interests and came from the same background. Well, look how restricting that is. What people should do is take role models a la carte. If there's someone whose character you appreciated, you respect that trait.
I love making people laugh, and to be able to be that humorous character was great. And I actually was very similar to Neville Longbottom. I was very shy and chubby-cheeked. I wasn't bullied at school, but I wasn't particularly outgoing. We were similar. And so I loved playing him.
I have that sort of Curb Your Enthusiasm, Larry David/George Costanza thing where people are like, "How did you feel writing such an unlikable character?" And I'm like, "It's me! I based him on myself!" There are certain moments where they do feel like unwittingly personal attacks.
I find that a lot of my best character stuff and ideas come unwittingly from novels. In scripts, it's a lot about the outward signs of whatever's happening - you have the end result. Whereas in a novel you get a buildup of the whys and wherefores, and you're let into the backstory.
It's an interesting arc. You start with a character [Doctor Strange] who's likeable and charming but very arrogant and distant. He's funny but you can see there are massive holes in his life. It's a very painful transition and all that he becomes is tested so quickly and violently.
I somewhere along the way became fascinated with exploring characters who are willing to put themselves into violent situations, whether it's football, hockey, boxing, being a cop, being a soldier. There's not a lot of people who are willing to put themselves into those situations.
Experience serves to prove that the worth and strength of a state depend far less upon the form of its institutions than upon the character of its men; for the nation is only the aggregate of individual conditions, and civilization itself is but a question of personal, improvement.
When I was dancing, whether it was the music or the story, the question was 'Why am I doing this piece, and why am I dancing?' It is exactly the same when you are acting. You have a very close relationship with your body movement. You have to find the physicality of your character.
Millions of men give all their energies, as well as their very souls, for the acquisition of gold. And this will continue as long as society is ignorant enough and hypocritical enough to hold in high esteem the man of wealth without the slightest regard to the character of the man.
Each celestial body, in fact each and every atom, produces a particular sound on account of its movement, its rhythm or vibration. All these sounds and vibrations form a universal harmony in which each element, while having it’s own function and character, contributes to the whole.
White Pond and Walden are great crystals on the surface of the earth, Lakes of Light.... They are too pure to have a market value;they contain no muck. How much more beautiful than our lives, how much more transparent than our characters are they! We never learned meanness of them.
How idle a boast, after all, is the immortality of a name! Time is ever silently turning over his pages; we are too much engrossed by the story of the present to think of the character and anecdotes that gave interest to the past; and each age is a volume thrown aside and forgotten.
There’s no tipping point where you become what you are. Character development starts when you’re growing up. Your socioeconomic background contributes. The attitude that gets you through some communities doesn’t work in corporate America. It’s not an excuse, but it does help explain
If we are to give our utmost effort and skill and enthusiasm, we must believe in ourselves, which means believing in our past and in our future, in our parents and in our children, in that particular blend of moral purpose and practical inventiveness which is the American character.