Quotes of All Topics . Occasions . Authors
You only learn when you give your whole being to something. When you give your whole being to mathematics,you learn; but when you are in a state of contradiction, when you do not want to learn but are forced to learn, then it becomes merely a process of accumulation. To learn is like reading a novel with innumerable characters; it requires your full attention, not contradictory attention.
the only way in which a human being can make some approach to knowing the whole of a subject, is by hearing what can be said about it by persons of every variety of opinion, and studying all modes in which it can be looked at by every character of mind. No wise man ever acquired his wisdom in any mode but this; nor is it in the nature of human intellect to become wise in any other manner.
There are a few pretty fundamental differences. In voice acting, if you are doing game recording, for the most part you are going to be by yourself in a studio. With game voice acting you are constructing everything for yourself pretty much. You're thinking about what the other characters could be doing, trying to imagine the scene, you're constructing the entire environment for yourself.
The present representative of the Dedlocks is an excellent master.He supposes all his dependents to be utterly bereft of individual characters, intentions or opinions, and is persuaded that he was born to supersede the necessity of their having any.If he were to make a discovery to the contrary, he would be simply stunned - would never recover himself, most likely, except to gasp and die.
At the beginning of the project, I wasn't certain that I could come up with an engaging storyline and cast of characters in this world, so I had a strong bias toward actually writing, and worrying about research later. In other words, I was afraid that I'd devote a year or two of my life to grinding through Kant and Husserl, then discover that there simply was no novel to be written here.
A criminal trial is like a Russian novel: it starts with exasperating slowness as the characters are introduced to a jury, then there are complications in the form of minor witnesses, the protagonist finally appears and contradictions arise to produce drama, and finally as both jury and spectators grow weary and confused the pace quickens, reaching its climax in passionate final argument.
It sounds really corny but every film that you do is its own journey, it's its own experience, it's its own thing. Often you think it's going to be one way and then it goes another way - you think you can chart a character and then other things happen. That's the amazing thing about our jobs, it's constantly changing and it's extremely dynamic and you therefore have to be dynamic as well.
He seemed very calm. He was controlling of the offense, making call and checks and things like that. But things happen and we have to readjust and come back stronger every series and at times we failed to do that as an offense. But we need to improve on that. It's something we need to learn from and the type of guys we have on this team, the character, I see us really improving from this.
My view is that "A Small Oak Tree Runs Red" is about putting people 'on the record,' who otherwise would have been forgotten, as a result of their bravery and love for one another. These characters demand justice, and they got punished for it. If we can correct that record in our artistic expression, in a poetic form such as this play, then that is our entire purpose and greatest benefit.
That this gentleman [President John Adams] ought not to be the object of the federal wish, is, with me, reduced to demonstration. His administration has already very materially disgraced and sunk the government. There are defects in his character which must inevitably continue to do this more and more. And if he is supported by the federal party, his party must in the issue fall with him.
Put your hand on your heart to keep it from flying off to the lovely magical literary island Mary Ann Shaffer and Annie Barrows have created in The Guernsey Literary and Potato Peel Pie Society. This novel is a delightful mix of fine writing, powerful emotions, glorious settings and amazing characters who deal with life in a way that will have readers falling in love on every single page.
The Seer Stone referred to here was a chocolate-colored, somewhat egg-shaped stone which the Prophet found while digging a well in company with his brother Hyrum,... It possessed the qualities of Urim & Thummim, since by means of it - as described above - as well by means of the Interpreters found with the Nephite record, Joseph was able to translate the characters engraven on the plates.
With every character you play, as these guys will tell you, there's a part of you goes into that in terms of the ingredients of making this stew. There's most definitely a part of me in Captain Jack and now, fortunately or unfortunately, there's a great part of Captain Jack in me as well. Basically, I can't shake him. He won't leave me alone. He just sort of keeps showing up at odd times.
I think what's exciting about doing it as found footage - if we all are being honest, found footage gets a little bit of a bad rap sometimes, but I think that there's a lot of potential in the medium in taking it seriously and in treating the audience with respect and in treating the characters with respect in terms of, why is the camera really on? Where would the camera be when it is on?
The quality of your life was determined by the quality of your service. I'm attracted to characters who have a higher calling, who want to serve in ways where you get beyond the comfortable service and you get into the space of the sacrificial. And I really am attracted to characters who just want to do things that brighten the world. That probably is the central aspect of my personality.
The whole world is tense. Everybody gets the international news. Theres been no American comedy at all that even remotely addresses the subject in any way. My goal isnt to solve the worlds problems. My character wasnt even able to do his assignment. But the premise of wanting to find out about somebody -- other than the stuff that the CIA will tell you -- theres no hope unless we do that.
If men do not comprehend the character of God, they do not comprehend themselves..." If the veil were rent today, and the great God who holds the world in its orbit, and who upholds all worlds and all things by His power, was to make Himself visible, - I say, if you were to see Him today, you would see Him like a man in form - like yourself in all the person, image, and very form as a man.
Musically, though, you're a character and you're singing a song. If you're not your own character, you're the character in the song, most of the time. Even blues musicians, a lot of them who were the most realistic, at times, they were singing a song and portraying a character in the song. There's something to be said for getting involved in the emotion of a song, too, with the characters.
Some Englishmen, of whom Kitchener was chief, believed that a rebellion of Arabs against Turks would enable England, while fighting Germany, simultaneously to defeat Turkey. Their knowledge of the nature and power and country of the Arabic-speaking peoples made them think that the issue of such a rebellion would be happy: and indicated its character and method. So they allowed it to begin.
I always say that, like a scientist or anyone, you always want to be the problem-solver. You feel like, if you solve the greatest mystery or the greatest problem, then that makes you brilliant. It's the same thing with an actress. You want to be able to really tackle a character and make it a fully-dimensional human being who is complicated, funny and all the things that a person could be.
I very comprehensively studied Irving Thalberg and his biographies. He's who [Scott] Fitzgerald roughly modeled the character after. He worked for him, as a writer, when he was at MGM. And, of course, I revisited the novel and the politics of MGM and the studio system at the time and familiarized myself with the world. There was a great deal of physical and literary work that went into it.
I seem to have been cast several several times to do it. I think in this one, Phoenix is not purely evil. She was in the comic books at some point but the way the writers created her or we always talked about her, was that she was torn with her powers taking over and trying to control them at the same time. It was challenging to play which made it interesting for me to play this character.
Great occasions rally great principles, and brace the mind to a lofty bearing, a bearing that is even above itself. But trials that make no occasion at all, leave it to show the goodness and beauty it has in its own disposition. And here precisely is the superhuman glory of Christ as a character, that He is just as perfect, exhibits just as great a spirit in little trials as in great ones.
The actors come in and they make characters their own and so Patrick and I have never been the kind to think that our script is the bible. We want to make sure that the story is told, that you stick to the story but if you have to make changes to the character then that's fine. A lot of times there are some funny one-liners, funny things that happen that are out of the ordinary. I like it.
I think everybody should act! I would encourage everybody to do one thing, join a theater class or something. It's so good to take a character that you think is wildly different from who you are, and to try to relate to that person and become that person is very helpful. It's hard to articulate what you learn, but you can feel the effect of these characters that you play and take with you.
Age is as much an asset for character players as it is for good wine. Human experiences, both good and bad, leave their marks on one's face and bearing. A few lines on the face and a few gray hairs coupled with the idiosyncrasies an actor adopts throughout life help out round out the actor's personality. So far as I'm concerned, the older a character actor gets, the firmer his position is.
I opened with Edward Kienholz's The Beanery, and that's such a controversial piece that I think that brought people right away. It was a room-size work that one walked into. It was a bar with Kienholz-type figures sitting and drinking and talking - all life-size characters in a life-size setting. The exhibition was covered in Time, Newsweek, and Life, so it had huge recognition right away.
I began to analyze the movie [The Day the Earth Stood Still] and said it was really made out of these two characters [Nikola Tesla and Leon Teremin] who were brought together. That made it fascinating to me. And especially the language they made up, that Klaatu speaks. Because it has a Latin word order. It's like medieval Latin, but it had some Navajo phonemes in it and that kind of stuff.
There are simple things which would make sense. Take, say, weatherization, which would make a big cut in the unemployment rate. That's the kind of work that plenty of people are quick to do, and it would save individual households money, and it would make a significant reduction in the threats of climate change. But something is holding it back: the sociopathic character of market systems.
I'm definitely not a model. I just get to, in the course of what I do, especially with acting and dressing up and getting into different characters and doing one-off campaigns with brands I really love, I get to be a model for a day. I walked on one catwalk once, and it was the most frightening thing, because you're just putting one foot in front of the other, but it was pretty mortifying.
It's going to sound like the easy answer, but I love them both. I do! I really don't prefer one over the other. With movies, you really dive into a character for two to three months, but then it's gone. With a TV series, you have a constant location you're living in, and you're always working on the same character along with people who are like your own family. I'm lucky to have done both.
The challenges for the writer included deciding which secrets were most important, how many secrets revealed were too many, which characters should know which information when, and how the revelations would impact the rest of the family. All of those questions eventually lead back to one: What's at the heart of this book? Where does it want to focus, or toward what does it want to lead us?
The way my books are structured, everyone was together, then they all went their separate ways and the story deltas out like that, and now it’s getting to the point where the story is beginning to delta back in, and the viewpoint characters are occasionally meeting up with each other now and being in the same point at the same time, which gives me a lot more flexibility for killing people.
Arise! Arise! A tidal wave is coming! Onward! Men and women, down to the Chandala (Pariah) - all are pure in his eyes. Onward! Onward! There is no time to care for name, or fame, or Mukti, or Bhakti! We shall look to these some other time. Now in this life let us infinitely spread his lofty character, his sublime life, his infinite soul. This is the only work - there is nothing else to do.
We have this saying, and it's been very useful when a series, 'The Mindy Project' goes for longer than a hundred episodes, which is Mindy character can never get what she wants when she wants it. We enjoyed it because it felt very real to her character to make a big impulsive move and it seems like she has everything, this instant family, a guy she loves and then there's a moment of panic.
One of our continuing myths was summed up in Huckleberry Finn: Our escape, what we think of as our escape, is that we can always light out for the territories. Well, we really can't, not anymore, but that's part of the American character - that belief that at any moment, I could just drop the coffee cup and disappear. And it makes for a different self-image and a different story, in a way.
The concern for world evangelization is not something tacked on to a man's personal Christianity, which he may take or leave as he chooses. It is rooted in the character of the God who has come to us in Christ Jesus. Thus, it can never be the province of a few enthusiasts, a sideline or a specialty of those who happen to have a bent that way. It is the distinctive mark of being a Christian.
I did not want to be the accompanist to an operatic star. But I was at a very high level for a 16-year-old, and I maintained that. So really good, but more impressive than classically trained. So I had to take a crash course in classical technique because I really wanted to get away with playing this character [in Florence Foster Jenkins] without people saying, "That's not really accurate."
We write for actors and even down to the smallest character in the film, they all have their moment. You take that and you put it in a story that's in your face and there's tons of hardcore R action, nudity and you name it, but at the same time there really is a story there. It's got heart and at the end of the movie people will feel it. So I hope they'll their friends and want to see more.
I've been fortunate to work with good directors who understand improvisation and understand the way comedians work. Luke Basan let me do my thing like do what you feel and take the character to another level. Quentin Tarrantino was more of an acting coach. He can teach you beats and then hell say go with it but give this feeling. So I've been fortunate to work with good, seasoned directors.
I am more affected by the attractions of virtue than by the deformities of vice; I turn gently away from the wicked and I fly to meet the good. If there is in a literary work, in a character, in a picture, in a statue, a beautiful spot, that is where my eyes rest; I see only that, I remember only that, all the rest is well-nigh forgotten. What becomes of me when the whole work is beautiful!
Cable news is 24 hours long so you have to fill it up with something. No, the Muppets are not communist. And the character of Tex Richman is not an allegory for capitalism in any way. The character is called Tex Richman. It's a joke. Clearly he is a classic, old school bad guy. He's bad not because he works for an oil company but because he's evil. No, it's not a communist movie in any way.
I did not always agree, personally, on the positions that Bartlet, character from the West Wing, took and I argued against them on many occasions. But Aaron Sorkin said, "Martin, that's you, that's not Barlet. It's a very political decision he has to make." I found from the very beginning that when I infused my own personal feelings about an issue it went against the grain of the character.
But the quality of writing in the series [game of Thrones] is paramount. That's probably why all of us are involved in this and all of us are quite so loyal to it, because we don't have to expend a lot of energy trying to make a silk purse out of a pig's ear. The quality of the writing is really good, and that's what makes playing a character so enjoyable, whether he's heroic or villainous.
When an actor comes to you and starts working with the script, the image of his character that you had in your mind gets substituted with an image of that particular actor. And this is the right way to go. An actor has to be absolutely truthful - this is the only thing required of him, apart from talent of course. It's very easy to understand: you need to absolutely believe in what you see.
I don’t think that actors are necessarily any more uncomfortable in their skin than anyone else. I suppose I feel more comfortable in my skin now, but you’re always playing a character, aren’t you? You tell different versions of yourself to different people and vice versa. Here, or in the photo shoot or wherever, it’s a representation of you. It’s not you-you. That’s how you get through it.
It is hard living down the tempers we are born with. We all begin well, for in our youth there is nothing we are more intolerant of than our own sins writ large in others and we fight them fiercely in ourselves; but we grow old and we see that these our sins are of all sins the really harmless ones to own, nay that they give a charm to any character, and so our struggle with them dies away.
His readiness to undergo persecutions for his beliefs, the high moral character of the men who believed in him and looked up to him as leader, and the greatness of his ultimate achievement - all argue his fundamental integrity. To suppose Muhammad an impostor raises more problems than it solves. Moreover, none of the great figures of history is so poorly appreciated in the West as Muhammad.
I was lucky I guess. My main job was done when I finally found Ben Whishaw and knew that there was someone who could portray a character who was so ambiguous and multi-faceted. Ben is equally dark and innocent; potentially violent and yet at the same time kind of a boy. He got all that across and still makes audiences root for the guy even though they might be kind of disturbed by that fact.
It is the business of thought to define things, to find the boundaries; thought, indeed, is a ceaseless process of definition. It is the business of Art to give things shape. Anyone who takes no delight in the firm outline of an object, or in its essential character, has no artistic sense. He cannot even be nourished by Art. Like Ephraim, he feeds upon the East wind, which has no boundaries.