Quotes of All Topics . Occasions . Authors
Both gentleness and meekness are born of power, not weakness. There is a pseudo-gentlene ss that is effeminate, and there is a pseudo-meekness that is cowardly. But a Christian is to be gentle and meek because those are Godlike virtues... We should never be afraid, therefore, that the gentleness of the Spirit means weakness of character. It takes strength, God's strength, to be truly gentle.
I couldn't possibly tell you. But I would say be very careful with your suppositions. People are so quick to jump. That's what I love about playing the character. People are so quick to draw conclusions about who he is. The whole thing about Loki is that he's dancing on this liminal line between redemption and destruction. Just be very careful about drawing conclusions based on what you see.
Struggles are a part of the sacred sanctification process. There are no soft or slothful ways to become sanctified to the point that we are prepared to live in the presence of the Savior. And there can be blessings in the burdens we bear. As a result of these struggles, our souls are stretched and our spirits are strengthened. Our character becomes more Christlike as we are tried and tested.
When the Spirit fills us, we are transformed, and by beholding God we become mirrors. You can always tell when someone has been beholding the glory of the Lord, because your inner spirit senses that he mirrors the Lord’s own character. Beware of anything that would spot or tarnish that mirror in you. It is almost always something good that will stain it- something good, but not what is best.
If we betake ourselves to the statistical method, we do so confessing that we are unable to follow the details of each individual case, and expecting that the effects of widespread causes, though very different in each individual, will produce an average result on the whole nation, from a study of which we may estimate the character and propensities of an imaginary being called the Mean Man.
The purpose of this is not show that I can do it better, because I think Superman is perfect. The original creation of Superman nobody could have done that better and I think Batman is pretty much a perfect character... The same with all of them. I'm just going to try to find a way to say, "If that wasn't the original idea, what would be another way to do it that would be more in my style?".
The first film that really knocked me out was Alien by Ridley Scott. This is a great movie because no matter how many times I watch it, I still find myself fully invested in the characters despite the fact I know what is coming. I think it was this type of mastery of storytelling and the ability of bringing the audience so completely into another world that made me want to become a director.
My stories usually begin with the characters and some elements of how power (personal, political, magical) functions in the world. The rest develops as I write, and research helps a great deal with that. If you're going to write about an agrarian economy, research agrarian economies. If your main character is starving, then you should know what it means for a malnourished body to break down.
We just assume all the great actors are in New York first and then L.A. second, and it's so not true. There's such amazing talent everywhere. It's exciting that now that there are these sort of new Hollywoods or new filmmaking communities that really benefit from these great faces and character actors and leading actors that just are fresh and exciting and bring an authenticity to the piece.
Playing what Hollywood determines is a hero, it immediately sets actors up to feel like they just can't explore the dark parts of themselves - the character has to be likeable, has to be fuckable, has to be redemptive on all fronts. When you're playing a character that's just inherently destructive or messed up, you're given this beautiful permission to try things. There's a license to fail.
I can remember the time I would get my scripts and spent the entire weekend breaking them down and playing with them, and putting a lot of work into them, trying to bring the character to life, and to make interesting choices. It was one of the things to me that told me that I needed to change things up a little bit, because to me, I felt the passion was lacking from some of my performances.
One of my jobs as an actor, regardless of who I play - even if I'm playing a despicable character - is to make people think that that character could exist, that he's real, and the way to do that is to make him believable. He doesn't have to be likable or charming, but he just has to be believable. That is someone who I could see on a bus. That is someone who I could walk past in the street.
Think of anger as a muscle. The way you express anger isn't the way that I do, or you. If you have a good director, you will find that he's getting you to use an entirely different muscle that you never even knew you had - it's real hard and sore, then after a while it becomes normal. And you discover all these new muscles when you enter a new character - that's what a director does for you.
Robert McKee says humans naturally seek comfort and stability. Without an inciting incident that disrupts their comfort, they won’t enter into a story. They have to get fired from their job or be forced to sign up for a marathon. A ring has to be purchased. A home has to be sold. The character has to jump into the story, into the discomfort and the fear, otherwise the story will never happen.
There is no telling what a human character is. Until the test comes. To most of us the test comes early in life. A man is confronted quite soon with the necessity to stand on his own feet, to face dangers and difficulties and to take his own line of dealing with them. It may be the straight way, it may be the crooked way --- whichever it is, a man usually learns early just what he is made of.
Oddly, I think if you look at comic books, you look at the shelves in the store, it's predominantly male characters, historically. But if you look outside the window it's 52-percent female, and something odd is going on there. So I do think it's your responsibility as a writer, really, to create stuff that little girls can get into too. I want my daughters to have role models that are female.
The majority of people are ready to throw their aims and purposes overboard, and give up at the first sign of opposition or misfortune. A few carry on DESPITE all opposition, until they attain their goal. These few are the Fords, Carnegies, Rockefellers, and Edisons. There may be no heroic connotation to the word persistence, but the quality is to the character of man what carbon is to steel.
The same thing will happen in China that happened in Chile. Political freedom will ultimately break out of its shackles. Tiananmen Square was only the first episode. It is headed for a series of Tiananmen Squares. It cannot continue to develop privately and at the same time maintain its authoritarian character politically. It is headed for a clash. Sooner or later, one or the other will give.
I firmly believe in and support everyone's right to freedom of artistic expression. STEEL MAGNOLIAS is my artistic expression, and it is my right to say that its female characters be portrayed by women. The concept of a play set in a beauty parlor where men portray women is a terrific idea. If that is someone's artistic expression, I encourage them to write their own play as soon as possible.
It's the character identification people remember, it's not so much remembering the movie; they just know that I'm a badass. I was a badass in Chicago before the movies ever came out. I was a badass on the football field - that's why they call me "the Hammer." I don't lean back on one particular picture, because I've done so many of them. But they all have the same common thing: I'm a badass.
I'm not playing a character. What I'm doing though is taking the worst, most shameful, peculiar, or troubling aspects of my personality. So there are elements of me that are not there. The happy version of me is not really in the show, because there's nothing funny about being happy. So it's more like I'm poaching on the funniest parts of me rather than actually creating some other character.
At the end, what I like is that it's the girl's decision to go back in the room. She needs a hug, she wants a hug, she asks for a hug and he gives it to her. For me, it's like an act of resistance to go there and to transgress the taboo and to do what started the whole thing in the beginning. It was supposedly a hug that started this whole drama between the character of Simon and the teacher.
The thought of the novelist lies not in the remarks of his characters or even in their introspection but in the plight he has invented for his characters - in the juxtaposition of those characters and in the lifelike ramifications of the ensemble they make: their density, their substantiality, their lived existence actualized in all its nuanced particulars, is in fact his thought metabolized.
You have to expose part of yourself to create a character deep enough for readers to care about. You try not to because it's hard and at times shameful, but then when you read those pages over and you see they have no life to them so you throw them away and force yourself to be more honest. So I suppose the answer is I see myself in all my characters, in their best moments and in their worst.
All women are brought up from the very earliest years in the belief that their ideal of character is the very opposite to that of men; not self-will, and government by self-control, but submission and yielding to the control of others. All the moralities tell them that it is their nature to live for others; to make complete abnegation of themselves, and to have no life but in their affections.
OCD, we discovered is a lot of different things-it's not just washing your hands, it's whatever you're obsessed with. It can be just the way you hold a pen, and you always have to have it a certain way or you have to eat your food, it depends. It's something that, as a character I thought was really interesting because sometimes it's used in a film where it is OCD and sometimes it's strategic.
Literature is the voice of the age and the state; the character, energy, and resources of the country are reflected and imaged forth in the conceptions of its great minds; they are organs of the time; they speak not their own language, they scarce think their own thoughts; but under an impulse like the prophetic enthusiasm of old, they must feel and utter the sentiments which society inspires.
The problem is if you play enough of parts in films that are sort of more financial products than anything or films in which the girl is a thankless, thoughtless, underwritten character along the way, you're no longer the person who had something fresh or vital to offer. I think it really does start to diminish some part of you, to put yourself through things you don't really want to be doing.
In liberal society we claim that freedom of speech is sacred and therefore has an absolute character. But we know (or should know) that "free speech" inhabits a structured space: not only is "hate speech" legally forbidden in liberal societies, but there are also laws protecting the circulation of copyrighted material, and the reproduction of trademarks and patents without explicit permission.
I think what we want to do is - when we choreograph, when we design choreography, we try to take it from a character standpoint first. Obviously you write a script and it's like, a Jason Bourne or a John Wick or something like that, you don't start choreographing double twisting wire moves and backflips, or doing the splits. You try to keep it so it fits the character, or the tone of the film.
Give your children regular, daily doses of Vitamin N. This vital nutrient consists simply of the most character-building two-letter word in the English language No...Unfortunately, many, if not most, of today's children suffer from Vitamin N deficiency. They've been overindulged by well-meaning parents who've given them far too much of what they want and far too little of what they truly need.
Theoretically, the actor ought to be more sound in mind and body than other people, since he learns to understand the psychological problems of human beings when putting his own passions, his loves, fears, and rages to work in the service of the characters he plays. He will learn to face himself, to hide nothing from himself- and to do so takes AN INSATIABLE CURIOSITY ABOUT THE HUMAN CONDITION
Making a film is like making a mixtape. You're collecting all this stuff and putting your favorite stuff into it: you have actors that you like, characters that you're interested in, moments you want to explore, themes you want to deal with, music that you want to put in. It's a pastiche of all these things that deal with how you see the world. You're just trying to make a love letter, a gift.
In fiction, it's as if you enter a dream world that you created, but your characters have their own free will. They don't do what you want them to do - they get into trouble, do drugs, fight over petty things, and do outrageous things that you wouldn't want your children to do. In other words, you can only provide the background, the seeds - in my case the background of the Vietnamese refugee.
I've tried the female thing. I was in a movie called Dinner for Schmucks a couple of years ago with Steve Carell and I created a female character for that movie. And after a few months of trying her out on the road it just didn't work. I mean, I can think like a terrorist, I can think like a white trash guy, I can even try and think like an African American, but I can't figure out how a woman.
A dream inspiring a story is different than placing a description of a dream in a story. When you describe a character's dream, it has to be sharper than reality in some way, and more meaningful. It has to somehow speak to plot, character, and all the rest. If you're writing something fantastical, it can be a really deadly choice because your story already has elements that can seem dreamlike.
I have watched how steadily the general feeling, as shown at elections, has been rising against Slavery. What a proud thing for England if she is the first European nation which utterly abolishes it! I was told before leaving England that after living in slave countries all my opinions would be altered; the only alteration I am aware of is forming a much higher estimate of the negro character.
I wouldn't do my roles if I really hated it. I've done things I hated, but I didn't go into them thinking I would hate them. I want to have fun. I don't want to go to work and not enjoy it. So if I'm swirling around on some wires, talking to Fred Flintstone, I make it the funnest I can. I also want to be good at it. I don't want to be a crap cartoon character. I want to be proud I'm a vitamin!
What our view of the effectiveness of religion in history does at once make evident as to its nature is--first, its necessary distinction; second, its necessary supremacy. These characters though external have been so essential to its fruitfulness, as to justify the statement that without them religion is not religion. A merged religion and a negligible or subordinate religion are no religion.
To me, the best zombie movies aren’t the splatter fests of gore and violence with goofy characters and tongue in cheek antics. Good zombie movies show us how messed up we are, they make us question our station in society… and our society’s station in the world. They show us gore and violence and all that cool stuff too… but there’s always an undercurrent of social commentary and thoughtfulness.
The Prodigal Son story is, I think, the greatest short-story ever written. It has such drama in it, such great characters, it's so clear and concise, and it's entertaining in the sense that everyone can relate to it. But you have no doubt what our Lord was trying to communicate in the heart of that story. So the truth was not sacrificed on the altar of entertainment in that case. And it can be.
It was a testament to the resilience of humanity. Give a man a tree and he will make it into a boat; give him a leaf and he will curve it into a cup and drink water from it; give him a rock and he will make a weapon to protect himself and his family. Give a man a small box and a limit of 140 characters to type into it, and he will adapt it to fight an oppressive dictatorship in the Middle East.
I don't make movies about issues. This is my same litmus test for all the movies I love: Is it a great character on a great emotional quest with a great emotional need? Do they overcome great emotional obstacles? Is it a fantastic story? I didn't set out to be a political activist. I'm just a human being who's moved by certain things, and if certain things break my heart, I set out to fix them.
I keep thinking of the gifts of my own upbringing, which I once took for granted: I can read any book I choose and comprehend it. I can write a complete sentence and punctuate it correctly. If I need help, I can call on judges, attorneys, educators, ministers. I wonder what I would be like if I had grown up without such protections and supports. What cracks would have turned up in my character?
When I'm making the movie, I absolutely do. I work so hard, and out of the raw material that is the script and talks I have with the director, the writer, I create, I hope, a very specific person who wouldn't have otherwise existed. However, do I then attach and hang on to the finished product? No. The experience of the creation of the character is what feeds me, what excites me, challenges me.
And once we have given our community a good start,' I pointed out, ' the process will be cumulative. By maintaining a sound system of education you produce citizens of good character, and citizens of sound character, with the advantage of a good education, produce in turn children better than themselves and better able to produce still better children in their turn, as can be seen with animals.
When I do a film, the days before or the night before, I throw up. Sometimes it's just in my mouth and I swallow it back, but sometimes it's real. Whatever it is, it's hard. I don't do the first five or ten minutes of my character's appearance in a movie until the middle of the shooting schedule because I don't want him to be defined by my nervousness. So, we do the middle of the picture first.
The anger that you see expressed out there in Los Angeles, in my district this evening, is a righteous anger, and it's difficult for me to say to the people, "Don't be angry." When people are angry and enraged, they do do senseless things. They do act even sometimes out of character, and that's why it is the responsibility of America to try and avoid putting people in these kinds of situations.
Live your life while you have it. Life is a splendid gift. There is nothing small in it. For the greatest things grow by God's Law out of the smallest. But to live your life you must discipline it. You must not fritter it away in "fair purpose, erring act, inconstant will" but make your thoughts, your acts, all work to the same end and that end, not self but God. That is what we call character.
I don't think you need to watch Arrow and Flash to appreciate what it is Legends has to offer. The beauty of this show - and they do this on Flash, and they did this on Arrow - is that we do spend time on character. We do spend time on backstory. We do take a moment in between the sci-fi special effects to tell you who these people are, so that when something happens to them, you actually care.