Quotes of All Topics . Occasions . Authors
Working in television it's really great to be able to stick with a character for a long period of time. It's not like you have one shot, and that's it. You have more time, more room, an ability to reflect on your performance and the character and how much has really been shown, and what you'd like to see. It's nice. You have more breathing room.
I don't think I ever relinquish a person I have known, and surely not my fictional characters. I see them, I hear them, with a clarity that I would call hallucinatory if hallucination didn't mean something else ... A character whom we create can never die, any more than a friend can die ... Through [my characters] I've lived many parallel lives.
I think romance is friendship and attraction sort of meeting together and that does influence what I'm writing a lot. I try to establish the attraction, obviously, but I also think it's important to show the characters having actual conversations about things other than their feelings for each other - and to develop their friendship on the page.
Unlike most wars, which make rotten fiction in themselves - all plot and no characters, or made-up characters - Vietnam seems to be the perfect mix: the characters make the war, and the war unmakes the characters. The gods, fates, furies had a relatively small hand in it. The mess was man-made, a synthetic, by think tank out of briefing session.
Bushmaster was such a great adversary, and Mustafa Shakir, just the way that he embodies him in terms of the power of the voice, the stillness, and then, at the same time, when they do get after it, when he does fight, just how kinetic he was. He just brought a great dynamic and being able to explore his history in making the character Jamaican.
People say that they like the characters that they believe that I am. But, I don't as much. I like the characters that I believe that I am not. Like my role on 'Law and Order.' That character unnerved people. And I loved every second of it. I want to continue growing as an actress. There are ways that I can reach quicker, or deeper, with acting.
Let me just be candid: My party is full of racists. And the real reason a considerable portion of my party wants President Obama out of the White House has nothing to do with the content of his character, nothing to do with his competence as commander-in-chief and president, and everything to do with the color of his skin. And that's despicable.
Some things just have a short, beautiful life, and some things have a longer one. One hopes that the things that go a long time are things that you love. It's like a relationship. The longer things go, you have to really work on that relationship with your character, with your castmates, the crew your working for, the producers, and the writers.
People have such a distinctive look to them these days. Whatever image they're doing, a lot of the time it sums up their character a bit. There are not many individual people anymore - they dress the same as their friends. It's a bit weird; everybody is trying to be different, but then they're exactly the same as whatever mob they hang out with.
The time which passes over our heads so imperceptibly makes the same gradual change in habits, manners and character, as in personal appearance. At the revolution of every five years we find ourselves another and yet the same;--there is a change of views, and no less of the light in which we regard them; a change of motives as well as of action.
All my roles are character roles. On the other hand, there are those people who have an inner...I think we all do the same thing. You can't get by on aura alone. That I know. Everyone has to dig in. Everyone has to do the same set of, "What is this about? What is this character doing?" Everybody from Spencer Tracy to Brad Pitt to Jeffrey Tambor.
One measure of the greatness of a work is that the characters who play roles in the narrative feel its essential truth. As someone who is proud to have been there during much of the action David Sepkoski describes, I give his description and analysis of the history of paleobiology a five-star rating; to my mind, this actually was the way it was.
It is possible that the scrupulously honest man may not grow rich so fast as the unscrupulous and dishonest one; but the success will be of a truer kind, earned without fraud or injustice. And even though a man should for a time be unsuccessful, still he must be honest: better lose all and save character. For character is itself a fortune. . . .
There's no reason to tweet when you are in the midst of a great moment; they are few and far between. So pay attention to it, as you probably won't see it again. You can always tweet later, if you're lucky enough to be part of history and you think 140 characters can do credit to someone like Martin Luther King or to the speech he made that day.
is grey, and I like that about all the characters, the killer, the driver... the movie has a very unlikely Hollywood ending, at the same time it helps you for a sequel too. Those are the things that I think are attractive, it's more, its real life, and people can identify with it and it just grounds it to a certain degree. That's the reason why.
The slanders poured down like Niagara. If you take into consideration the setting - the war and the revolution - and the character of the accused - revolutionary leaders of millions who were conducting their party to the sovereign power - you can say without exaggeration that July 1917 was the month of the most gigantic slander in world history.
Phyllis is one of the tunnel boring machines for Crossrail and one of the most extraordinary characters I met, visiting some of the most exciting infrastructure in Britain. Crossrail is the new railway which will run from West to East right across London. It is the biggest engineering project in Europe - and Phyllis herself is not exactly dainty.
I think everybody came into it with the understanding that they would go through an experience that is literally not by the book, that is not executing the script and then going home, but living and breathing these characters and being in the moment with each other, and improvising and creating a lot of present-tense intensity between characters.
I've always been a character actor, although I'm not quite sure what that means. All my scripts are absolutely covered in notes, so any time I say anything - even 'pass the salt' - I have six subtexts, comments on what I really mean when I'm saying that. Maybe that's what gives the impression that I'm saying one thing and thinking something else.
I try to employ a different strategy for each story. Often, I'll have a specific look in mind before I even have the story to go with it. I'm not so much interested in forcing the issue of reader identification through various graphic tricks. I'm more interested in creating specific characters that resonate with my own particular inner struggles.
I'd like to get into the superhero genre. I'd love to do either a DC or a Marvel character. I just love the way they're approaching these characters in these films. I also would love to get back into some romantic films. I love romance films, especially between people of color, because we don't really explore that enough. I would love to do that.
Education is not the amount of information that is put into your brain and runs riot there, undigested all your life. We must have life-building, man-making, character-makin g, assimilation of ideas. If you have assimilated five ideas and made them your life and character, you have more education than any man who has got by heart a whole library.
The sisters and brothers that you meet give you the materials which your character uses to build itself. It is said that some people are born great, others achieve it, some have it thrust upon them. In truth, the ways in which your character is built have to do with all three of those. Those around you, those you choose, and those who choose you.
With a character like a Captain Jack, who can essentially set up these verbal land mines around him, and just keep passing the "absurdity ball" around and the "irreverence ball" around, and keep people guessing and keep people confused, there's great safety in that. Me, myself, personally, I learn from it. It's a real pleasure, and I do need him.
he challenge is finding the modern conduit for the audience, having fun and really looking at the duality of this particular character, that is both devil and angel, and on the cusp of losing control of the pagan background, to this newfangled religion called Christianity. There's a great backdrop there, and just a whole dark side with the magic.
Impressionists have to paint with a very broad stroke because you've got to see it within a couple of seconds. You go, "That's a really funny Robert De Niro." As an actor, though, you look at different aspects of a character. I try to completely surround myself with the assignment. It's like being in a big cloud and then some of it rains through.
We are a people that have always celebrated other people's success so long as we always had the opportunity to meet that success ourselves. That is the American nature. That is the American character. That is one of the things that makes us different from the rest of the world. And I'm afraid we could lose that or are on the verge of losing that.
But if they are well-founded and just, they can be no less than the high requirements of heaven, addressed by the voice of God to the reason and understanding of man, concerning things deeply affecting his relations to his sovereign, and essential to the formation of his character and of course to his destiny, both for this life and for the life.
"A child!" said Edith, looking at her. "When was I a child? What childhood did you ever leave to me? I was a woman - artful, designing, mercenary, laying snares for men - before I knew myself, or you, or even understood the base and wretched aim of every new display I learnt. You gave birth to a woman. Look upon her. She is in her pride tonight."
When I'm done skating, I guarantee you that I will not look back and remember standing on the podium. I'm going to remember these days - being with the team. Training alone, in my basement. Training when everybody else is sleeping. Doing things that nobody else is doing. Digging down. Seeing what kind of character I truly have. I love that stuff.
At the core of every person or belief, there's a pain and a thorn. There's always something, whether it's a physical thing, a health thing, or an I wish I had someone or something in my life thing. We all know some level of pain, so I like to see the ugliness of characters. It's a side that we show, only when we strip down in the bathroom mirror.
Hard-earned achievement brings a sense of self-worth. Work builds and refines character, creates beauty, and is the instrument of our service to one another and to God. A consecrated life is filled with work, sometimes repetitive, sometimes menial, sometimes unappreciated but always work that improves, orders, sustains, lifts, ministers, aspires.
I think the other side of that is embracing the claustrophobia, and that's what a huge piece of this show is, just watching people go through having to be stuck in that. I think the audience is going to feel some of that. It might not be comfortable, but it's really cool to just be experiencing that along with the characters that you're watching.
When dealing with people, let us remember that we are not dealing with creatures of logic. We are dealing with creatures of emotion, creatures bristling with prejudices and motivated by pride and vanity. ...Any fool can criticize, condemn, and complain - and most fools do. But it takes character and self-control to be understanding and forgiving.
Usually the German translators do something terrible, especially with Tom Wolfe, which is that they make it local. So if the characters are from Harlem, the translators put all this Berlin slang into their mouths, and that's just terrible. You cringe when you read that. But there really is no good solution to the problem, except learning English.
True success is one of the greatest needs. Success is not something you stumble onto or come to by accident. It is something you must sincerely prepare for. Take a good look at successes, and you'll see he same consistent qualities all the time - qualities of one's character that make one strive for a goal with a standard of unmatched excellence.
Gary Ross one of those directors which lets you do what you need to do to become your character - he lets you try to do everything on your own when you're acting. Then at some points he would say, "Let's try this," or "Let's try that." Most of the time he just kind of let me try to just become my character on my own and it worked out really well.
American society [...] not only sanctions gross and unfair relations among men, but it encourages them. Now, can that be denied? No. Rivalry, competition, envy, jealousy, all that is malignant in human character is nourished by the system. Possession, money, property--on such corrupt standards as these do you people measure happiness and success.
What I love about the 'Alien' franchise is I would do all kinds of films - dramas, comedies, whatever - and every now and then I'd be in this science fiction blockbuster that would re-introduce the character and me to a lot of audiences around the world and allow me to go back and do the smaller films again, so it was really a good balance for me.
Some parts of the population are starting to realize that character is extremely important and that it cannot be measured by the things we like to measure it by: the tabloids and so forth. Character is crucially important to a leader, to be a moral leader, and we'd better make it primary on our list or we're going to keep getting more of the same.
The point here is not just that an image represents God as having body and parts, whereas in reality he has neither. But the point really goes much deeper. The heart of the objection to pictures and images is that they inevitably conceal most, if not all, of the truth about the personal nature and character of the divine Being whom they represent.
John Huston was the kind of director that totally left you alone. Not every actor always does it right, every time, but most of the time he was re-directing someone. He was making tight adjustments, and not even in terms of interpretation because he knew that by the time that the character had been filmed... well, he got it right when he cast you.
Howard Marks is very intelligent and well read, eloquent, witty, charming. I think it was those qualities that got him through. I was interested to explore that because generally, we perceive criminals as dark, twisted, angry characters. Howard isn't any of those. He was punished for his crime, released from prison, and has lived to tell the tale.
I prefer to take actors and put them in real settings and real locations and real situations rather than create artificial locations that serve the characters. It's just much easier when you are walking down the street with your actors to do that in a real street that's still open with people on it, rather than to close it off and bring in extras.
When I realized that Reuben was a young man who really wanted to be taken seriously, because he was dismissed for being too good looking or because he had too much money - his character really came to life for me. I began to understand that, and see that a lot of people feel this way - misunderstood because of their talents or gifts or background.
The truth has no need to be uttered to be made apparent, and ... one may perhaps gather it with more certainty, without waiting for words and without even taking any account of them, from countless outward signs, even from certain invisible phenomena, analogous in the sphere of human character to what atmospheric changes are in the physical world.
To me, feminism in literature deals with the female characters being in some way central to the thematic concerns of the book, or that they are agents of change to some degree. In other words, the lens is focused deeply and intensely on the female characters and doesn't waver, which allows for a glimpse into the rich inner lives of the characters.
Im doing pretty good as far as geniuses go ... Im like a machine. Im a robot. You cannot offend a robot ... Im going down as a legend, whether or not you like me or not. I am the new Jim Morrison. I am the new Kurt Cobain ... The Bible had 20, 30, 40, 50 characters in it. You dont think that I would be one of the characters of todays modern Bible?
The measure of our rationality determines the degree of vividness with which we appreciate the needs of other life, the extent to which we become conscious of the real character of our own motives and impulses, the ability to harmonize conflicting impulses in our own life and in society, and the capacity to choose adequate means for approved ends.
I love my job. It's such a privilege to be able to play such complicated characters. Growing up, I wanted to be a billion different things. I realized in order for that to happen, I don't have to be them all because the characters I want to play require such research and such a transformation to make that work - that's something that I love doing.