Quotes of All Topics . Occasions . Authors
It's one thing to be sitting at a drawing board, alone in your home and coming up with a fantasy character, and drawing her whichever way you feel like drawing, then dealing with a real performer. All of a sudden, things change. It's amazing, in working with actors, how much I learn from them and how many new lines will come to mind because of their personality or their strengths.
God wants us to relieve suffering, pursue justice, facilitate reconciliation, and free the heart to love, but He desires for us to do so in a way that reveals His Character. It is not enough just to do well for others or to do things well. We must do well in our unique way in order to reveal the vast creativity of a God who loves to bring change through the most unlikely channels.
Sometimes when I get up after writing, I'm surprised at how my body feels. Suddenly I'm not a lanky, hungry young boy any more. It's no fun putting on ten years and fifty pounds all of a sudden. Other times, I get up and I'm pleasantly surprised that I'm not a weary innkeeper, hopeless, with bones that feel like they're made of lead. I really sink into the characters that I write.
The freedom of the press is a valuable privilege, but the abuse of it in this country is a frightful evil. The licentiousness of the press is a deep stain upon the character of the country; and in addition to the evil of calumniating good men and giving a wrong direction to public measures, it corrupts the people by rendering them insensible to the value of truth and of reputation.
I'll never accept that I'm a sex symbol. That will mean that someone is a bit too fond of himself. If it happens, I think it's certainly going to be odd. People shouldn't see me as a sex symbol. I'm really just Henry. I'm just telling a story. I could be playing an incredibly unpleasant character who's not sexually attractive at all in my next movie. So I've no expectations at all.
Her beauty satisfied [his] artistic eye, her peculiarities piqued his curiosity, her vivacity lightened his ennui, and her character interested him by the unconscious hints it gave of power, pride and passion. So entirely natural and unconventional was she that he soon found himself on a familiar footing, asking all manner of unusual questions, and receiving rather piquant replies.
The crime of ingratitude has not yet stained, and I trust never will stain, our national character. You are considered by them as not only having rendered important service in our own revolution, but as being, on a more extended scale, the friend of human rights, and able advocate of public liberty. To the welfare of Thomas Paine, the Americas are not, nor can they be, indifferent.
The essential thing is action. Action has three stages: the decision born of thought, the order or preparation for execution, and the execution itself. All three stages are governed by the will. The will is rooted in character, and for the man of action character is of more critical importance than intellect. Intellect without will is worthless, will without intellect is dangerous.
I like actors who just become that person and then react, and Adam [Driver] is completely reactive in that way. So every day working with him was really a pleasure. And he's in almost every scene in the film, so the poor guy had to work the - almost the entire 30 days of our film shoot. But, yeah, he was really a pleasure, and I really love what he - how he embodied this character.
Remember to build each other up, to strengthen and sustain, to keep companionship lovely and alive. Remember dignity and respect; understanding; not expecting perfection; a sense of humor and a sense of what is sacred and serious; common purposes, common convictions, and the character to stay with a bargain, to keep a covenant - in these are the making of a good and solid marriage.
When what you do is play characters, every day, all day, I wasn't really interested in playing a pop star on the weekends. I wanted to be myself, and it slowly turned into not being me at all, so I just didn't really see the point. If the music actually happens, at some point, it will be because some underground following happened, or some little elves heard it and were leaking it.
What is useful about when there is a sort of pull-out to reveal moment going on is that it actually focuses the mind when you're writing the earlier scenes because you're thinking 'right, how do I? I can only show this amount of the room... I can only show these characters from the waist up because they've all got robot legs!' it's a challenge so it keeps you engaged on some level.
While a forgery illegally exploits the elitist taste for rarity, a kitsch object insists on its anti elitist availability. The deceptive character of kitsch does not lie in whatever it may have in common with actual forgery but in its claim to supply its consumers with essentially the same kinds and qualities of beauty as those embodied in unique or rare and inaccessible originals.
I'm drawn to real-life characters. A lot of the characters I play, I've had in me since second grade. I've been dragging them around my entire life, and then sometimes I marry them with different people. But seldom have I really come up with a new character. In my head it's like, "I'll pull that person out that I've been doing since sixth grade and see where they're at right now.".
I feel like I'll be defined more so by ... when I get a chance to play roles where I'm the father/husband. I'd like to continue with the action stuff, but when I get to play the father/husband role, I think that will be the time where I'm playing who I really am. I look forward to playing those kind of heroic characters, the types that are usually associated with Denzel Washington.
I can't judge the characters I play, because it's for the audience to do. What I can try to do is to understand and embody what were they going through? How did they make the decisions they made? That to me is a more interesting way to approach something, rather than saying this person is a villain and that person is this and - because it's not very interesting to play that anyway.
Aunt May's values and Spiderman's traumas are kind of what's defined him as a young boy and now that he's becoming a young man, she's there to provide that safe place where he can still be a kid if he needs to be, or know that he has a home base as he's going through all these physical changes. So as long as those essentials are there, we can work on finding the character together.
My fear -- and what Ive read and heard -- is that lesbians feel like [The L Word cast] all have long hair, and everyone is too pretty. Theres so much pressure on this one show, the first of its kind, to represent every dyke or lesbian in the world. But [lesbian viewers] are not going to be disappointed, because by the end of the first season [there are] a lot of diverse characters.
All films created by Walt Disney at the time of his major outpouring of work were carefully crafted to fit scenes, characters, moods and situations. If these elements changed in any way, songs - no matter how good they were - were discarded. Others were written for the new scenes. Many times, character songs were dropped because characters were dropped...sequences were dropped etc.
Malicious acts are performed by people for personal gain … Sorcerers, though, have an ulterior purpose for their acts, which has nothing to do with personal gain. The fact that they enjoy their acts does not count as gain. Rather, it is a condition of their character. The average man acts only if there is a chance for profit. Warriors say they act not for profit but for the spirit.
Very great personages are not likely to form very just estimates either of others or of themselves; their knowledge of themselves is obscured by the flattery of others; their knowledge of others is equally clouded by circumstances peculiar to themselves. For in the presence of the great, the modest are sure to suffer from too much diffidence, and the confident from too much display.
Well, I don't know anything about television. I'd never done it before. Initially, it was quite daunting to take on so much challenge and so much time with it. I think it is a great outlet for an actress because you really have 13 hours to bring a character to life, which is so much more than with film, and you have the luxury of time to tell a story and to really color a character.
This is what love does: It makes you want to rewrite the world. It makes you want to choose the characters, build the scenery, guide the plot. The person you love sits across from you, and you want to do everything in your power to make it possible, endlessly possible. And when it’s just the two of you, alone in a room, you can pretend that this is how it is, this is how it will be.
I feel closer ties and more intimate bonds with certain characters in books, with certain images I’ve seen in engravings, than with many supposedly real people with the metaphysical absurdity known as ‘flesh and blood’. In fact, ‘flesh and blood’ describes them very well: they resemble cuts of meat laid out on the butcher’s marble slab, dead creatures bleeding as though still alive.
You can put the camera in places where you may not necessarily be able to put it there if I don't do the stunt. If it's character and it's storytelling, then we do it. We design the things around me. I don't do it just to do a stunt. It's storytelling for me and how I can best bring the audience into the action, bring the audience into the story. And that's how we always look at at.
The most difficult thing has definitely been movies. From a comedian's standpoint, you think being real big is the best thing, but with movies, the screen is huge, you're big anyway! Also, coming from a TV personality - MTV was all about high energy and selling the hottest video - I had to learn to [take it down]. A lot of characters I'm playing are not necessarily that kind of guy.
We never know how much one loves till we know how much he is willing to endure and suffer for us; and it is the suffering element that measures love. The characters that are great must, of necessity, be characters that shall be willing, patient and strong to endure for others. To hold our nature in the willing service of another is the divine idea of manhood, of the human character.
Reading fiction is important. It is a vital means of imagining a life other than our own, which in turn makes us more empathetic beings. Following complex story lines stretches our brains beyond the 140 characters of sound-bite thinking, and staying within the world of a novel gives us the ability to be quiet and alone, two skills that are disappearing faster than the polar icecaps.
The Bible talks about how God uses difficult situations to develop our character and get us stronger. The death of my father is probably the biggest thing that I ever faced. Daddy and I were best friends. But out of that darkness, out of that disappointment in my life, that's what God used to push me into another level of victory or another level of ministry that I never knew I had.
As an actor, you don't want to know the beginning and end to your character's arc. It makes it more fun. You're not playing the end. You're playing it realistically. You don't know where this character is going to go and what's going to happen to him, which just makes it more interesting for the viewers to watch. They're going on the journey with you, as the actor and the character.
From Eden is spoken from the Devil's point of view. I always loved in blues music how the Devil can be a character who walks and talks. So awful is your state that it seems to be a presence around you. I don't really spend time thinking about the nature of God but I'm interested in what people say about God, how it is used to control people and change policies in the physical realm.
Every discoverer of a new truth, or inventor of the method which evolves it, makes a dozen, perhaps fifty, useless combinations, experiments, or trials for one successful one. In the realm of electricity or of mechanics there is no objection to this. But when such rejected failures involve a torture of animals, sometimes fearful in its character, there is a distinct objection to it.
I remember working with Jackie Chan on Shanghai Noon [2000], and when we were working on the script, I thought that my character thought about being an outlaw the way a kid today would think about being a rock star, as a way to impress girls. So it was just kind of a funny idea, but once we had that idea, it changed the character and made it something that was funnier to me to play.
When one has praised Turgenev, however, for the beauty of his character and the beautiful truth of his art, one remembers that he, too, was human and therefore less than perfect. His chief failing was, perhaps, that of all the great artists, he was the most lacking in exuberance. That is why he began to be scorned in a world which rated exuberance higher than beauty or love or pity.
Instead of saying that man is the creature of circumstance, it would be nearer the mark to say that man is the architect of circumstance. It is character which builds an existence out of circumstance. From the same materials one man builds palaces, another hovels; one warehouses, another villas; bricks and mortar are mortar and bricks until the architect can make them something else.
Great artistic talent in any direction... is hardly inherent to the man. It comes and goes; it is often possessed only for a short phase in his life; it hardly ever colors his character as a whole and has nothing to do with the moral and intellectual stuff of the mind and soul. Many great artists, perhaps most great artists, have been poor fellows indeed, whom to know was to despise.
Almost everyone working in mainstream comics started off as a starry-eyed kid reading and loving comics. We're all fans, and that's great. But when we start working on company-owned comics professionally, we have to think like storytellers instead of fans. Editors aren't looking to hire the biggest fans of the characters. They're looking to hire the best creators with the best ideas.
But Shakespeare knows what the sphinx thinks, if anybody does. His genius is penetrative as cold midwinter entering every room, and making warmth shiver in ague fits. I think Shakespeare never errs in his logical sequence in character. He surprises us, seems unnatural to us, but because we have been superficial observers; while genius will disclose those truths to which we are blind.
I think most people don't really understand all that it takes to stand on your toes, and to be able to jump and land without any noise, or for a male dancer to be able to lift a girl. All of these things look so effortless, but there's an attention to detail and years of training, as well as being able to transform into a character and being able to meld all of those things together.
Snowden is almost preternaturally prepossessing and self-possessed. I think of a novelist whose dream character just walks into his or her head. It must have been like that with you and Snowden. But what if he'd been a graying guy with the same documents and far less intelligent things to say about them? In other words, how exactly did who he was make your movie and remake our world?
Imprint deep upon your minds the principles of piety towards God, and a reverence and fear of His holy name. The fear of God is the beginning of wisdom and its consummation is everlasting felicity. Possess yourselves of just and elevated notions of the Divine character, attributes, and administration, and of the end and dignity of your own immortal nature as it stands related to Him.
The responsibility of being a lead is the most challenging part playing the character enjoyable is what I live for. But it's just being the liaison through, you know, the middle of so many departments. I'm connected to so many departments and you have to deal with so many people day in and day out. And the dialogue and the scripts it's the work. The work is the most challenging part.
The difference between what we see and a sheet of white paper with a few thin lines on it is very great. Yet this abstraction is one which we seem to have adopted almost instinctively at an early stage in our development, not only in Neolithic graffiti but in early Egyptian drawings. And in spite of its abstract character, the outline is responsive to the least tremor of sensibility.
A doctrine-teaching, character-building university, the Brigham Young University is dedicated to the building of character and faith, for character is higher than intellect . . . . We are men of God first, men of letters second, men of science third, and noted men fourth, men of rectitude rather than academic competence. . . . Our academic training must be as impeccable as our lives.
The Greek word euphuia, a finely tempered nature, gives exactly the notion of perfection as culture brings us to perceive it; a harmonious perfection, a perfection in which the characters of beauty and intelligence are both present, which unites "the two noblest of things" - as Swift most happily calls them in his Battle of the Books, "the two noblest of things, sweetness and light."
I don't know whether the movement crashed as a result of the overwhelming character of the institutions we set out to change. I think repression had a lot to do with the dismantling of the movement and also the winning of certain victories had something to do with the inability of the movement to take those victories as the launching point for new goals and developing new strategies.
The religion and the environmentalism of the highly industrialized countries are at bottom a sham, because they make it their business to fight against something that they do not really wish to destroy. We all live by robbing nature, but our standard of living demands that the robbery shall continue. We must achieve the character and acquire the skills to live much poorer than we do.
I think people are drawn to characters that break the rules. I think there is something about a good person doing bad things for what they consider to be a good reason. Then the battle is on to almost prove to the audience that it's justified. How far can you go with that? How far can that character go before people won't accept it? Trying to walk to edge of that line is a challenge.
I liked the way my character, Shane, was first introduced. You get introduced to her through this sexual action, and I thought that was so cool and just kind of summed up what she enjoys and who she is, to a certain extent. She's a complete sexual being and the great thing is that she doesn't apologize for it. It's just who she is. We rarely see women be able to do that on television.
I haven't got anything against films that are about the minutia of relationships or customs, but I love extremes. I love taking a bunch of characters and it usually is a bunch of characters, and you throw something at them that's usually extreme, like a bag of money, or you send them out to explode a nuclear device on the surface of the sun. And those extremes are wonderful for drama.