If justice, good faith, honor, gratitude and all the other qualities which enoble the character of a nation, and fulfill the ends of Government be the fruits of our establishments, the cause of liberty will acquire a dignity and lustre, which it has never yet enjoyed, and an example will be set, which can not but have the most favorable influence on the rights of Mankind.

The director Denis [Villeneuve] is actually an actor (he's from Sons of Anarchy and he's a great character actor) and he's also a screenwriter (he wrote What Lies Beneath). It blows my mind to see when people from one sector move to another and excel. I think Sicario was one of the best directed and written films. It did get [a nomination for best] cinematography, though.

With James Reese’s vivid and chilling novel, readers will gain a whole new appreciation of two gothic landmarks, Dracula and Jack the Ripper. Not only does The Dracula Dossier grip us with its fast paced hunt for history’s most notorious killer, it also enchants us with sophisticated and lyrical recreations of its unique period and strong characters. A daring achievement.

It has not been without bitter resistance by the clergy that woman's property and educational rights have advanced. Woman's anti-slavery work, her temperance work, her demand for personal rights, for political equality, for religious freedom and every step of kindred character has met with opposition from the church as a body and from the clergy as exponents of its views.

The most upsetting part of the new administration is discovering that the person who won the election and became the president of the United States of America is a man who has no good values. His character astounds me. I can't believe that we have a president who would lie, who would distort, and who does not appear to have an appreciation for government and how it works.

Speculative Philosophy is the endeavour to frame a coherent, logical, necessary system of general ideas in terms of which every element of our experience can be interpreted. By this notion of 'interpretation' I mean that everything of which we are conscious, as enjoyed, perceived, willed, or thought, shall have the character of a particular instance of the general scheme.

(Talks about a school production) 'There was one solo; but it was a guy. It was this character called 'Freddy Fast Talk' and it was the bad guy. I didn't care, I was like I will dress up like a guy, I want to sing that song. And so I remembered we drew on eyebrows, and I had like a moustache,and we put all my hair up in this hat. So I dressed like a guy and sang the solo.

I come from a little bit of a theatrical background. I started that way. I don't have a tremendous body of work or anything, but I went to drama school. And so, to get to do a piece where the characters get to talk a lot, and that isn't just about the spectacle or the set piece, or is simply visual or movement based. It was really wonderful for me, and juicy and exciting.

A lot of times, in film and TV, they just want you to play yourself. But, when you're someone who's more of a character actor, you get to experience what it feels like to play a bunch of different kinds of people. I find it more invigorating than challenging. I definitely trust the writers to give me the material that I will take and turn into the person that I'm playing.

A true home is one of the most sacred of places. It is a sanctuary into which men flee from the world's perils and alarms. It is a resting-place to which at close of day the weary retire to gather new strength for the battle and toils of tomorrow. It is the place where love learns its lessons, where life is schooled into discipline and strength, where character is molded.

One of my career ambitions was fulfilled working with John [Hurt]. I loved his work long before I ever had the idea of being an actor, so I was nervous to meet him. I was like a fanboy, like that annoying character on 'Saturday Night Live'. I'm sitting there. 'Do you remember when you were in 'Midnight Express'? Remember that scene you were in?' And he doesn't disappoint.

Diet, injections, and injunctions will combine, from a very early age, to produce the sort of character and the sort of beliefs that the authorities consider desirable, and any serious criticism of the powers that be will become psychologically impossible. Even if all are miserable, all will believe themselves happy, because the government will tell them that they are so.

You need as much ballast as possible to stop you from floating away; you need people around you, things going on, otherwise life is like some film where the money ran out, and there are no sets, or locations, or supporting actors, and it's just one bloke on his own staring into the camera with nothing to do and nobody to speak to, and who'd believe in this character then?

We used hand-held cameras 50 years ago. It wasn't something new. Sometimes we used a tripod, or we'd have a tracking shot, and sometimes - like when a character was being chased - we used a hand-held camera because it was right for the scene. In those cases, it helped the mood; it created immediacy and a feeling for the viewer that they were in the scene and in the moment.

You can do everything differently in a novel. Hero narrates the novel; we're in his head. You're hearing all his thought processes and you're hearing him call himself out on his bad behavior. You don't have the benefit of that narrator in a movie. What you see a character do, very often, becomes that much more important because you don't have him editorializing it for you.

The main thing about the character [in the Ordinary World] is that he loves music, and he shares it with his daughter. He's having a mid-life moment, and it's a small moment, really. I think that the character actually really loves where he's at, in his life. He's just trying to have it make a little bit more sense while he figures out what he actually wants to do with it.

To point out the importance of circumspection in your conduct, it may be proper to observe that a good moral character is the first essential in a man, and that the habits contracted at your age are generally indelible, and your conduct here may stamp your character through life. It is therefore highly important that you should endeavor not only to be learned but virtuous.

In terms of my relationships with a lot of the adult characters, when I was working with Harrison, it wasn't like a verbal agreement, but we both understood that because there was this constant tension between our characters, we couldn't say "Cut" and start acting normal. We had to keep an essence of that relationship in our characters off screen which is really important.

Everybody you work with sees what you're doing from a different point of view, a very specific point of view. So, if someone is lighting, they're seeing it from that point of view. A production designer is seeing it from the placement of furniture that tells you about the character. Everything that goes into the room should tell you about the person who lives in that room.

When you see these characters like Captain America or Thor, laughing at their own situation or about how strange they are, then you are able to accept more readily that it's fine to wear a cape. You can also accept that it's fine to be enormous and green, or to shoot arrows at aliens racing through the sky. It all makes sense if you've been able to laugh at it and with it.

I think what people watch television for is the emotional continuity, from episode to episode, and feeling that the experience that they had, four episodes ago, has actually been building to an episode that comes later, and knowing that the characters are growing, as a result of that, and making mistakes, is really, really important to the way people connect to television.

I wanted to pay homage to someone who was such an important literary figure in my life. I think Langston Hughes would be proud of the picture Black Nativity, yet it's a contemporary story about a family living in Harlem. I named the lead character Langston, put a little bit of poetry in there, and some Langston Hughes quotes, and, of course, his stage play, Black Nativity.

Go without a coat when it's cold; find out what cold is. Go hungry; keep your existence lean. Wear away the fat, get down to the lean tissue and see what it's all about. The only time you define your character is when you go without. In times of hardship, you find out what you're made of and what you're capable of. If you're never tested, you'll never define you character.

Fighting teaches you a lot about yourself. When you fight you are in a situation where failure can happen. This chance of failure forges your character in many ways and makes you realise how mentally tough you have to be as a fighter. This mental toughness will transfer into your everyday life, giving you drive and a clear concise attitude, where giving up is not an option

A river is the most human and companionable of all inanimate things. It has a life, a character, a voice of its own; and it is as full of good fellowship as a sugar maple is of sap. It can talk in various tones, loud or low, and of many subjects grave and gay.... For real company and friendship there is nothing, outside of the animal kingdom, that is comparable to a river.

I feel like a lot of the films I do, part of the reason I like doing them is I'm not 100 percent sure what it's going to be. It's exciting. I read an equal amount of very generic scripts, and you kind of know exactly what those are and that doesn't whet my appetite. I already know what it is or I already know what the character is. It's just a lot harder to get interested.

(I)t is simply wrong to confuse cowardice with appeasement. Cowardice is a failing of character. Appeasement is a failure of policy. Stalin appeased Hitler when he signed the Molotov-Ribbentrop Pact. Stalin was an evil character, to be sure. But cowardice really isn't the first word that comes to mind when thinking of Stalin ' that word is “sexy.” I'm kidding, I'm kidding.

It's something that's difficult to explain but I think all writers work this way to some extent, whether we're aware of it or not. For me, writing has little to do with thinking. I don't want to control the narrative. I listen to the rhythm of the words and dialogue and try to give the characters the space in which to say and do what they want without intervening too much.

Margaret Cavendish was one of the people who came up in the course. That was when I started thinking about her as a character for a book, but my idea was for a totally different book. It had all these characters in it; Samuel Pepys was one of the main characters. He famously wrote these extensive diaries through the period that are really funny and sort of saucy, actually.

I don't know what people want, really. Does somebody have to die? What is meant by resolution? These are questions that I don't quite know what to do with. That being said, I did want the characters to be changed by the end of the book. But will what they've gone through alter their lives from this point forward, i.e. will they make different (better) choices? Probably not.

Human history can be viewed as a slowly dawning awareness that we are members of a larger group Groups of people from divergent ethnic and cultural backgrounds working in some sense together [is] surely a humanizing and character building experience. If we are to survive, our loyalties must be broadened further, to include the whole human community, the entire planet Earth.

Our character is composed of our ideas and our feelings: and, since it has been proved that we give ourselves neither feelings nor ideas, our character does not depend on us. If it did depend on us, there is nobody who would not be perfect. If one does not reflect, one thinks oneself master of everything; but when one does reflect, one realizes that one is master of nothing

I don't think I want to play title roles. I don't want to be the face on the poster. I don't want that pressure of having the success riding on my shoulders. I just want to play the most interesting parts. I actually think it's incredibly rare to get an interesting female character that is the lead in a film. Usually the character parts are so much more interesting to play.

Elegant and lucid . . . a pitch-perfect clarion call, issued not with preachy hubris but from a deep place of humility, for awakening to the greatest rewards of living . . . The Road to Character is an essential read in its entirety-Anne Lamott with a harder edge of moral philosophy, Seneca with a softer edge of spiritual sensitivity, E. F. Schumacher for perplexed moderns.

We went to Comic-Con and there were people dressed up as the characters. There's a whole canon of Ninjago history that I didn't even know about until the process of making the movie had started. Especially at Comic-Con, I realized that people really, really care about this, and I hope they like it because it's meaningful to them. It did actually change my feelings about it.

I never looked at Noah as an animal collector. I always thought of him as an apocalyptic character. I read everything I found about it and was surprised to find that in all religions there is the story of the flood, and that one "hero" saved the world. This proved that Noah and his Ark - were not a religious myth, and is evidence that humanity really went through the flood.

The great characteristic of men of active genius is a sublime self-confidence, springing not from self-conceit, but from an intense identification of the man with his object, which lifts him altogether above the fear of danger and death, which gives to his enterprise a character of insanity to the common eye, and which communicates an almost superhuman audacity to his will.

Human history can be viewed as a slowly dawning awareness that we are members of a larger group Groups of people from divergent ethnic and cultural backgrounds working in some sense together [is] surely a humanizing and character building experience. If we are to survive, our loyalties must be broadened further, to include the whole human community, the entire planet Earth.

So far as the personality is still potential, it can be called transcendent, and so far as it is unconscious, it is indistinguishable from all those things that carry its projections...that is, symbols of the outside world and the cosmic symbols. These form the psychological basis for the conception of man as a macrocosm through the astrological components of his character.

People don't stop me on the street and throw things at me. But I'm aware of what that dynamic is, so whenever people react strongly to a character and say that they hate me, I take it as a job well done. And for most people, there's a sense of removal. Most people are not saying, "Oh, my god, I hate you!" Most people that have reactions say, "I love to hate your character."

One can feel the immense joy of Amy Hill Hearth's engagement in her first novel. It radiates through every scene and through every page. Sometimes, an exceptional writer finds an exceptional premise, and the result is a truly exceptional book. Such is the case with Miss Dreamsville...The writing is brilliant, especially the dialogue through which the characters are defined.

We used to have adults who set standards, moral standards, cultural standards, legal standards. They were better than we were. They gave us something to aspire to. They were people that we described as having dignity and character. That's all gone now, particularly the upper levels of the Democrat Party. There isn't any of that kind of decency, dignity, character, morality.

My father once said there's a correlation between a nation's cuisine and its people: England, nice people, nasty food; France, nice food, nasty people; Spain, nice people, nasty food; Italy, nice people, nice food; and Germany, nasty food, nasty people. And I've always thought that there must be something terribly wrong with the German character - and that there is, really.

I think sometimes it's sort of easier to be playing a role based on a real person because there's quite often a lot more information, you're not making it up, it's there in books, it's there in research form. But really the questions you ask about the character, and why people behave, and where they come, and how they've ended up in the places they've ended up are the same.

There is really no fiction or non-fiction; there is only narrative. One mode of perception has no greater claim on the truth than the other; that the distance has perhaps to do with distance - narrative distance - from the characters; it has to do with the kind of voice that is talking, but it certainly hasn't to do with the common distribution between fact and imagination.

The problem that we have is the President himself- a President who prides himself on his own weakness and incompetence and whose love of false prophets and strange women knows no bounds and has no end. A President who is as confused and as clueless as the comic character called Chancey Gardner in the celebrated 1970's Peter Seller's Hollywood blockbuster titled ”Being There

I always find myself gravitating to the analogy of a maze. Think of film noir and if you picture the story as a maze, you don't want to be hanging above the maze watching the characters make the wrong choices because it's frustrating. You actually want to be in the maze with them, making the turns at their side, that keeps it more exciting...I quite like to be in that maze.

I think that people are going to find more interest in the human condition, especially with them being weaned on so much reality television. They want character driven stuff along with real violence. Cage fighting is very popular with the kids right now. They see and know what one punch can do to someone's face. You can't give someone five hundred punches in a film anymore.

The artistry on the show [ Underground] is apparent in each episode. From the riveting writing to the purposeful and precise direction, the masterful work of the DP [Director of Photography] Kevin McKnight and his crew, and the layers and depths each actor goes to to ensure we the audience feel a human connection to these characters led me to sign my name on the dotted line.

The Christian faith is the most exciting drama that ever staggered the imagination of man-and the dogma is the drama ... The plot pivots upon a single character, and the whole action is the answer to a single central problem: 'What think ye of Christ?'... He was emphatically not a dull m an in his human lifetime, and if he was God, there can be nothing dull about God either.

Share This Page