Quotes of All Topics . Occasions . Authors
The image of God carries with it the right not to be mistreated or harmed.... Regardless of their record or character, all human beings have an irreducible glory and significance to them, because God loves them.... So we must treasure each and every human being as a way of showing due respect for the majesty of their owner and Creator.
I don't beat at the details, but I do always keep in mind that anything that isn't A) moving the story forward or B) enlarging my understanding of the central characters has to be sacrificed. I have huge folders of details - research - with a story like Netherlands. Only a very small part of it gets used. The old iceberg analogy again.
... the basic principles of the military services are unchangeable. Courage and candor, obedience and comradeship, love of fatherland and loyalty to the State: these are ever the distinguishing characteristics of the soldier and sailor. Building character through intelligent training and education is always the first and greatest goal.
I began as a dramatist in the theater, so I'm always thinking about how a story moves, what it looks like, how to engage the senses, how dialogue sounds, what feels authentic and sounds real, what's funny, how to build distinctive and original characters - all the aspects of playwriting, scene-building, the architecture of dramatizing.
I think the reality is Michael Jackson's humanity is so deep, the implications and inferences of his art so monumentally and magnificently global, that nothing American television could do to besmirch his character could ever, if you will, deny the legitimate genius that he represents and America has responded, as indeed has the globe.
Harmony comes gradually to a pilot and his plane. The wing does not want so much to fly true as to tug at the hands that guide it; the ship would rather hunt the wind than lay her nose to the horizon far ahead. She has a derelict quality in her character; she toys with freedom and hints at liberation, but yields her own desires gently.
When I need to stretch my legs, I can walk across the street to the museum and relax among the illustrations of Abraham Lincoln's life, too. In a way, it reflects the halves of Lincoln's own character - one all jokes and buffoonery, the other all high-minded seriousness. If he could absorb both into his personality, I think I can, too.
I find Billy Eichner to be hilarious, though I also imagine that for many, a little goes a long way. Billy provides a kind of comedy the Parks and Recreations show did not have - an insane person screaming at everyone, and our job going forward, as it is with all of our characters, is to develop him and make him more three dimensional.
'Divergent' was my utopian world. I mean, that wasn't the plan. I never even set out to write dystopian fiction, that's just what I had when I was finished. At the beginning, I was just writing about a place I found interesting and a character with a compelling story, and as I began to build the world, I realized that it was my utopia.
For the Humanist, . . . head and heart . . . must function together. . . . The constitution of the Phillips Exeter Academy reads: 'Though goodness without knowledge . . . is weak and feeble, yet knowledge without goodness is dangerous. . . . Both united form the noblest character and lay the surest foundation of usefulness to mankind.'
I identify myself as an actor, because I feel like you don't go to the doctress, you go to the doctor; it doesn't matter what the gender is. I think actresses worry about eyelashes and cellulite, and women who are actors worry about the characters we are playing. A separate category is another way of making us a special-interest group.
While I can make no claim for having introduced the term "rugged individualism," I should be proud to have invented it. It has been used by American leaders for over a half-century in eulogy of those God-fearing men and women of honesty whose stamina and character and fearless assertion of rights led them to make their own way in life.
The great exception to that, of course, is Johnny Depp, who is absolutely the ultimate character actor. Johnny Depp is the future of the character actor and thanks to his success maybe we will see the return of an era when my sort of actor is back in vogue. It's not in vogue for me to be in Hollywood movies as lots of different people.
I consider books to be good for our health, and also our spirits, and they help us to become poets or scientists, to understand the stars or else to discover them deep within the aspirations of certain characters, those who sometimes, on certain evenings, escape from the pages and walk among us humans, perhaps the most human of us all.
How easy it is for generous sentiments, high courtesy, and chivalrous courage to lose their influence beneath the chilling blight of selfishness, and to exhibit to the world a man who was great in all the minor attributes of character, but who was found wanting when it became necessary to prove how much principle is superior to policy.
Every age, every culture, every custom and tradition has its own character, its own weakness and its own strength, its beauties and cruelties; it accepts certain sufferings as matters of course, puts up patiently with certain evils. Human life is reduced to real suffering, to hell, only when two ages, two cultures and religions overlap
I'm with Milton and the Rolling Stones: I don't find the Devil an unsympathetic character. But in any case, my fiction is populated as much by people who do good as it is by those who do bad. I'm interested in imaginatively accommodating as much of the human as possible, for which you need both moral extremes and everything in between.
I became an actor to escape my own personality. Acting is the most therapeutic thing in the world. You see, through acting you come full circle in your personality and, oh, what a grand time you can have along the way being wonderful people through your characters...I think all the courage that I may lack personally I have as an actor.
I love when there's an obstacle to overcome, even for the audience to actually empathize with that character. I find that interesting, and then, how to work around that and make them relatable. That's something that you have to dig into the moments and into the performances and see how to play those situations that make them relatable.
The reason it's called 'The Heart of Robin Hood' is that he starts off not having a heart - or certainly not being in contact with it. And through a series of stories, he learns to discover that he has one. He becomes much more dramatic as a character, to be honest, because there's something rather too smug about the endless do-gooder.
I think 'Scarface' is a great film, but if you have a character like Tony Montana, you don't identify with him at all. I think it's very interesting instead to identify yourself with a character you don't like all the time. You can create a tension between the fiction and the viewer. You force the spectator to wonder about his actions.
The soul is dyed the color of its thoughts. Think only on those things that are in line with your principles and can bear the light of day. The content of your character is your choice. Day by day, what you choose, what you think, and what you do is who you become. Your integrity is your destiny ... it is the light that guides your way.
Despite his [Artie Shaw's] affectations of reclusiveness, he never tired of talking about himself, as countless long interviews reveal. I do not recall an anecdote he ever told me that was not in some way intended to convey a sense of his own superiority to everyone. . One wonders how a person of his character could produce such beauty.
A Fraternity, too, is of such character that after men have left college they delight to renew their own youth by continued association with it and to bring their richest experiences back to the younger generation in part payment of the debt which they feel themselves owe to the fraternity for what it gave them in their formative years.
Howard Chaykin was one of the few who dared to make mainstream comics different back in the eighties; it was guys like him, Alan Moore and Frank Miller who made sure there'd be no going back. Howard's work on The Shadow is amongst his very best: razor-sharp character work, sizzling dialogue and an unsurpassed sense of layout and design.
With the advent of digital imaging I made the transition from trying to figure out how to do things to creating objects, characters and the whole cloth. It kind of freed up the analytical part of my brain and I had the opportunity to use more of the creative side of my brain for how things interact with light and integrate into stories.
The influence of geographic factors diminishes as technology grows. The character and contour of a terrain may offer opportunities for agriculture, mining, or trade, but only the imagination and initiative of leaders, and the hardy industry of followers, can transform the possibilities into fact...Man, not the earth, makes civilization.
Patrick Swayze was risk-taking - because he not only did a transvestite, but in Donnie Darko, he played a pedophile! Talk about a risky thing for a movie star, and he jumped right in. We even shot some of those video sequences of his character out on his ranch. I mean, he opened his heart and his ranch to us. He was just an awesome guy.
The secret to writing sound effects is having a room you can be alone in, trying to make the sounds yourself, and seeing what comes out. It's similar to if you're writing a character talking with their mouth full: the only way I know to transcribe that is to stuff my fist in my mouth and write down what sounds I make when I try to talk.
'Aladdin' was probably my favorite Disney animation when I was a kid. The animation was great and Robin Williams was unbelievable as the Genie. 'Aladdin' was an amazing adventure and the lead character was a hero for guys, which I loved. It wasn't a princess or a girl beating the odds; it was a street rat. That seemed really cool to me.
I always believe, with any kind of hero, that you want to believe that their decision-making is right. That ultimately, I can trust what that guy's sense of right and wrong will be. Even in a vigilante movie, where you are going against the law by definition, you still want to agree with the fact that your character is breaking the law.
Obviously making Peter Parker suddenly bisexual or gay wouldn't really make logical or dramatic sense. It was a hypothetical kind of question about the nature of these comic book characters and the nature of this particular character, and whether sexuality, race, any of those things makes any difference to the character of Peter Parker.
You end up loving every character that you play but a lot of the people I've played, I should just say for myself, I played, I wouldn't necessarily want to continue playing them. I've done them. It's like going on a trip. You go, you're amazed, you're glad you're there but you're glad to get home. And that's how I feel most of the time.
I came to filmmaking as an actor looking for great characters and great opportunities, both of which are kind of hard to come by. It turns out I really love the process. And, it's exciting to be able to take my career by the reigns and make things happen for myself. Hopefully, in doing so, more opportunities will become available to me.
There's a lot of thinking when you choreograph something. You're not just choreographing some bodies, arms, legs flying around to look cool. It's a lot more complicated and sophisticated. You also have to deal with the connection of the whole film, so when I choreograph, I think of the movement itself, the camera angles, the characters.
When the functionality of a product or service overshoots what customers can use, it changes the way companies have to compete. When the product isn't yet good enough, the way you compete is by making better products. In order to make better products, the architecture of the product has to be interdependent and proprietary in character.
The real long term objective of the Welfare Plan is the fulfilling of character in the members of the Church, givers and receivers, rescuing all that is finest down deep inside of them, and bringing to flower and fruitage the latent richness of the Spirit, which, after all, is the mission and purpose and reason for being of this Church.
I remember reading this thing that Elizabeth Taylor wrote. She had her first kiss in character. On a movie set. It really struck me. I don't know how or why, but I had this sense that if I wasn't really careful, that could be me. That my first kiss could be in somebody else's clothes. And my experiences could all belong to someone else.
The key to writing for Richard (Pryor) was to just push his buttons and then know when to push the buttons on your cassette recorder. You'd get him started, then surreptitiously start recording when he got inspired and started walking around the room and improvising in character. Then you'd get it all transcribed and take credit for it.
Really, for me, it's important to know who's pitching and who's catching - just what that scene is supposed to accomplish in terms of storytelling. That being said, on the day, basically what you're trying to get yourself into an open place. And if the character is in a state of anxiety or vulnerability, you try to find some touchstone.
The directors were often really nice and I was well behaved, so I would just sit there in rehearsal. That allowed me to see the process - not just the result, the red carpet, all of the wonderful, fun things that happen afterwards - the nuts and bolts, the nitty-gritty, "Let's try to build this character from the page," tech rehearsals.
The one and only formative power given to man Is thought. By his thinking he not only makes character, but body and affairs, for as he thinketh within himself, so is he. Prejudice is a mist, which in our journey through the world often dims the brightest and obscures the best of all the good and glorious objects that meet us on our way.
I really feel that actors should really know who they are as characters; they should really study their lines; they should be prepared; but once they come to set, for me the most exciting way to shoot a scene is to really find it, really kind of grind your way through it, until you feel like you have something that you can put together.
The first time I heard the word 'transgender' had been in a sitcom episode that mocked the potential for cisgender people to find people like me attractive. Every time someone expressed any interest in the gorgeous trans guest character - her identity still a secret to most of the main characters in the show - the laugh track would cue.
I see God now as an unimaginative writer of popular fictions, someone who builds stories around sadistic and graceless plots, narratives that exist only to express His terror of a woman's power to choose who and how to love, to redefine love as she sees fit, not as God thinks it ought to be. The author is unworthy of His own characters.
One cannot run from a challenge without losing. To flee is signing a death warrant to dignity and character, and, having run, there is no return; one is a weakling forever. Meeting a challenge, though one may be defeated, gives strength, character, and a certain assurance that regardless of outcome, one will survive or go down fighting.
To feel our character, our personality, and our personal, hard-won history fade from being is to be exposed to whatever lies beneath these comforting, operational conveniences. What remains when the conscious and functioning self has been erased is mankind's fundamental condition – irrational, violent, guilt-wracked, despairing, and mad.
The character of Anglo-American civilization . . . is the product . . . of two perfectly distinct elements that elsewhere have often made war with each other, but which, in America, they have succeeded in incorporating somehow into one another and combining marvelously. I mean to speak of the spirit of religion and the spirit of freedom.
If you're playing your character and you're running into all these people who know who you are and treat you in a way that doesn't pertain at all to the character, it takes you out of it more, so when you're alone in a city where people don't know you, you can kind of pretend even more and get into the head space of where you need to be.
Most great filmmakers are good at place. Like how people say, like, "The city itself is a character in the movie," you know? I'm so interior. I always forget there's such a thing as an exterior wide shot, where you can see where someone is. As opposed to just: how can we show what this person is thinking, in an abstract way that is felt?