Quotes of All Topics . Occasions . Authors
I lay and cried, and began to feel again, to admit I was human, vulnerable, sensitive. I began to remember how it had been before; how there was that germ of positive creativeness. Character is fate; and damn, I'd better work on my character. I had been withdrawing into a retreat of numbness: it is so much safer to NOT feel, NOT to let the world touch one.
I try to write things that can't be made into movies. My novels have thwarted many attempts to film them and I think that was true of the essay, too. If you'd actually tried to be true to the essay, it would have been, perhaps, boring. So taking that narrow little cast of characters and expanding it out, that was what was exciting about the project for me.
If you have a billion Muslims, 900 million of them were not brought into Islam by any kind of invasion, but most of them through the Sufis, because human beings are such that they are affected by people of spiritual character. Certainly when they display nobility and hospitality and gentility and love and are not selfish or aggressive, and they are honest.
You know something has really stuck in Tim's head when he's drawn what the character looks like. Weird Girl and Elsa actually switched places, at one point. I may be mis-remembering it, but the original design for Weird Girl was actually Elsa, but then it became Winona Ryder's character, and the new Weird Girl was just fantastic with those giant wide eyes.
We must appraise civilization in relation to its territory and in relation to its duration. The character of the medium of communication tends to create a bias in civilization favourable to an over-emphasis on the time concept or on the space concept and only at rare intervals are the biases offset by the influence of another medium and stability achieved.
The lovely thing is, if Marvel had a Spider-Man movie over at Sony or something, they own the rights to the character, and the editors and producers make suggestions and get notes and things. But you're talking about Matthew Vaughn and Jane Goldman. They're two of the best people in the world. The notes are just things like, "This is absolutely brilliant."
I felt like if I could get the epiphany out of the way in my drafting process, through my eighth or tenth draft, then that can just be part of how I've assembled the character, and then we can move on and move forward with it. In general, I don't ever want to feel smarter than my characters, because I just feel like that's not a great way to write a story.
I think it's human nature to go and to watch things that are done, and see the flaws, but I cannot think of anything that we would want to go so far as to completely change or redo to be honest with you. I think there are characters, you look at the Thor: Ragnarok trailer, there are characters that can evolve and can continue to change and grow throughout.
There is nothing more personal than your values. What you will and won't do to get ahead, the lines you will and won't cross to win, whom you will and won't step on for personal gain, are at the very core of your code of honor. And your code of honor determines your character. And your character is who you are. Behind closed doors. When nobody is watching.
The big characters who occupy science, especially modern science, are all "off" in fundamental ways. I don't think that genius goes hand in hand with being socially inept or being a sociopath or being a misanthrope, but I do think that it is a mind that can think so differently - so beyond how one is supposed to think. I wanted to pay tribute to that mind.
I love the chameleon nature of this business [acting]. I always have. Sometimes I'm not as recognizable as somebody else and I may not have gotten a role, but for me, acting is not a competition. I've just kept my head down and kept working, and had the great pleasure of working with some amazing people and playing some extraordinary and extreme characters.
I think I am an actress and I'm artistic and I love spontaneity and all of that, but I just decided really early on that if I didn't also try to ground myself I would probably end up like this character of Laura in A Little Help , or like so many young people in Hollywood, sort of go off the rails. So I'm pretty attached to my routines and my grounded ways.
I got called and was told, "We'd like you to do The Hobbit", which was my favorite of all of them when I was a kid - "And we want you to play a character that's not in the books", I gulped and hesitated, but then I went, "These guys know this world, and they represent this world so well, that I actually think they've earned the right to have a little play."
I did feel Dr. Cox, the character that I was auditioning for, was too similar to the head of the hospital. He was too arrogant and mean. I approached him kind of like I had a miniature Max sitting on my shoulder. I pictured Max saying, "This guy has got to give love every once in a while. He has to!" I knew there had to be tiny little windows of redemption.
The destructive character knows only one watchword: make room. And only one activity: clearing away. The destructive character is young and cheerful. For destroying rejuvenates, because it clears away the traces of our own age; it cheers, because everything cleared away means to the destroyer a complete reduction, indeed a rooting out, of his own condition.
Let us suppose the mind to be, as we say, white paper, void of all characters, without any ideas; how comes it to be furnished? Whence comes it by that vast store which the busy and boundless fancy of man has painted on it with an almost endless variety? Whence has it all the materials of reason and knowledge? To this I answer, in one word, from experience.
There are, then, these three means of effecting persuasion. The man who is to be in command of them must, it is clear, be able (1) to reason logically, (2) to understand human character and goodness in their various forms, and (3) to understand the emotions--that is, to name them and describe them, to know their causes and the way in which they are excited.
She moved from being a young woman into having the angular look of a queen, someone who has made her face with her desire to be a certain kind of person. He still likes that about her. Her smartness, the fact that she did not inherit that look or that beauty, but it was something searched for and that it will always reflect a present stage of her character.
To bear failure with courage is the best proof of character that anyone can give... You will find that people forget the failures of others very quickly.... My last piece of advice is not to let anyone see your mortification, but whatever you fancy people are saying about you to go on with your ordinary life as though nothing unpleasant had happened to you.
I can't not have something attached to like what actually happens in real life. Like I can't do a romantic comedy without there being something where like, in the case of Annie Hathaway's character, her character ends up having Parkinson's, you know? To me, I feel like that's love, you know? Like to me. So every movie has to have that kind of sense of that.
When you start, it's very cold, an impossible task. But then maybe the characters start to take on a little bit of life, or the story takes a turn that you don't expect ... With me that happens a lot because I don't outline, I just have a vague notion. So it's always felt like less of a made thing and more of a found thing. That's exciting. That's a thrill.
I enjoy it all: performIng, doing TV, movies, comedy, drama, stand-up, animation voicework, singing, but you get that instant gratification from stand-up because it's your own commentary and you get to see the reaction from the audience that's right there in front of you. I also love coming up with characters and watching people embrace them and enjoy them.
I would like to carve my novel in a piece of wood. My characters—I would like to have them heavier, more three-dimensional ... My characters have a profession, have characteristics; you know their age, their family situation, and everything. But I try to make each one of those characters heavy, like a statue, and to be the brother of everybody in the world.
I usually make up stories for my kids.I like to tell them stories and make up any kind of crazy to involve them in characters. The kind of fairytales I don't like are the ones with happy endings, where there's just good and evil and things are perfect. I think when there's a good story for children it has a moral tale, so that's what I try to teach my kids.
I thought of the scene while writing scenes with Rebecca [Hall] and wrote it like an opening montage of showing where someone works. If you see a film about a car mechanic, you'd show the place they work and what they do. So, that's what I set out to do with Rebecca's character. I thought it probably wouldn't even make it into film but I ended up liking it.
We often wonder: "How will I be when I die?" The answer to that is that whatever state of mind we are in now, whatever kind of person we are now, that's what we will be like at the moment of death, if we do not change. This is why it is so absolutely important to use this lifetime to purify our mindstream, and so our basic being and character, while we can.
What a glorious new Scandinavia might not Minnesota become! Here the Swede would find again his clear, romantic lakes, the plains of Scane rich in corn, and the valleys of Norrland; here the Norwegian would find his rapid rivers ... The climate, the situation, the character of the scenery agrees with our people better than that of any other American States.
Wray Nerely, the character in Con Man, he actually had a role in Rogue One, but he got cut. It sucked. John Swartz, the producer, is a big fan of Con Man. I even got to screen Con Man while we were shooting Star Wars. They had a theater there, and they let me screen one of the little 10-minute episodes for everyone. What sucked was I had to follow Star Wars.
Luck is always waiting for something to turn up. Labor, with keen eyes and strong will, always turns up something. Luck lies in bed and wishes the postman will bring news of a legacy. Labor turns out at six o'clock and with busy pen or ringing hammer, lays the foundation of a competence. Luck whines. Labor whistles. Luck relies on chance, labor on character.
A great deal of it is mental, the ability to learn within the game, to perform at a high level - often with injury - and to weather the ups and downs of an emotional game through a 16-game season. Also, there is the willingness to prepare in the offseason, the film room, to learn the scheme and execute without a lot of repetition - that's football character.
There can be no question of selecting in any direction, but of penetrating the whole cosmic law of rhythms, forces and material that are the real world, from the ugliest to the most beautiful, everything that has character and expression, from the crudest and most brutal to the gentlest and most delicate; everything that speaks to us in its capacity as life.
"Let there be no inscription upon my tomb. Let no man write my epitaph. No man can write my epitaph. I am here ready to die. I am not allowed to vindicate my character; and when I am prevented from vindicating myself, let no man dare calumniate me. Let my character and motives repose in obscurity and peace, till other times and other men can do them justice.
Lysley Tenorio is a writer of sly wit and lively invention—these are stories bursting with wonders (from monster movies and leper colonies, to faith-healers and superheroes)—but most wondrous of all is his intimate sense of character. Each story is a confession of love betrayed, told with a mournful, austere tenderness as heartbreaking as it is breathtaking.
A vice sanctioned by the general opinion is merely a vice. The evil terminates in itself. A vice condemned by the general opinion produces a pernicious effect on the whole character. The former is a local malady; the latter, constitutional taint. When the reputation of the offender is lost, he too often flings the remainder of his virtue after it in despair.
His manners were less pure, but his character was equally amiable with that of his father. Twenty-two acknowledged concubines, and a library of sixty-two thousand volumes, attested the variety of his inclinations, and from the productions which he left behind him, it appears that the former as well as the latter were designed for use rather than ostentation.
The explanation of types of structure in classes - as resulting from the will of the Deity, to create animals on certain plans - is no explanation. It has not the character of a physical law and is therefore utterly useless. It foretells nothing because we know nothing of the will of the Deity, how it acts and whether constant or inconstant like that of man.
I try to outline. I'm a lazy outliner. I will put the points down of each chapter or series of chapters, but it always changes. For me it's a place of evolution. I don't really know who the characters are. I don't really know what the story is. I outline and that really just gets me moving. It's like I'm drawing up fake maps, but they turn out to be correct.
What is absolutely true is that any good [Television] series has a specific voice. And I think that voice is almost exclusively the domain of the executive producer. . . . As a staff writer you're not being called upon to be the great creative person. You're sort of called upon to understand the characters and their voices and put them through certain paces.
Anxiety is the experience of growth itself. In any endeavor, how do you feel when you go from one stage to the next? The answer: You feel anxious. Anxiety that is denied makes us ill; anxiety that is fully confronted and fully lived through converts itself into joy, security, strength, centeredness, and character. The practical formula: Go where the pain is.
It is now widely and rightly accepted that we live in a world which is more interdependent than ever before, and that problems are increasingly global in character. At the risk of stating the obvious, I would say that when governments realize that certain problems are beyond their powers, it is clear that the United Nations has an irreplaceable role to play.
Sometimes you'll see interviews about an actor who was asked to hit the weight room to develop his body for the character, and you hear them complaining about the egg white omelettes they had to eat and the tortures of hitting the gym twice a day - I find that to be a bit saddening, it's all a part of becoming the character and as an actor, that is your job.
As with most of my work, I started from the abstract, from research, building an intellectual model that slowly became internalized when the characters came alive. It's fascinating what happens to the model you've so assiduously assembled when characters are allowed to run rampant: things you thought essential are broken and other things are vastly improved.
You know, you're not aware of it, but you're following the action of the film through the body of the protagonist, you know? You feel what he feels when he jumps, when he leaps, when he wins, when he loses. And I think I just took it for granted that, you know, we can all do that, but it became obvious to me that men don't live through the female characters.
Whenever I play a role, whether it's good or bad, an evil person or nice person, I believe in being a purist and going all the way with the role. If I'm going to be a villainous wrestler, I believe in going all the way with it and not breaking character and not giving away to the audience that I'm playing a role. I believe in playing it straight to the hilt.
The difference of the English and Irish character is nowhere more plainly discerned than in their respective kitchens. With the former, this apartment is probably the cleanest, and certainly the most orderly, in the house.... An Irish kitchenis usually a temple dedicated to the goddess of disorder; and, too often, joined with her, is the potent deity of dirt.
In many Muslim countries, witchcraft is not only on the books as a crime, but is commonly prosecuted. In 2009, for example, Saudi Arabia convicted a man for carrying a phone booklet with characters in an alphabet from his native Eritrea, which the police interpreted as occult symbols. He was lashed three hundred times and imprisoned for more than three years.
Beware of anyone who calls you bad names merely for asking honest questions. Beware of anyone who insists on reframing your sincere curiosity as a character defect. Beware of anyone who questions your motives while ignoring your facts. When someone calls you bad names merely for asking questions, it suggests they know the answer but are terrified to admit it.
When I make music, I play it, I produce it, I write it. It's a very self-centered thing, not in a negative way. But I primarily work by myself, that's my process. When I'm acting, I'm there to serve the director and the character. I'm here to give you what you need. Communicate that to me and I will do what I need to do to get that. So that's what it's about.
Apologizing for our past sins may reveal character and for a time lessen anti-Americanism abroad, but if it is done without acknowledging that the sins of America are the sins of mankind, and that our remedies are so often exceptional, then it only earns transitory applause—and a more lasting contempt that we ourselves do not believe in the values we profess.
As the patriots of seventy-six did to the support of the Declaration of Independence, so to the support of the Constitution and Laws, let every American pledge his life, his property, and his sacred honor;-let every man remember that to violate the law, is to trample on the blood of his father, and to tear the character of his own, and his children's liberty.