Quotes of All Topics . Occasions . Authors
There is something in the character of every man which cannot be broken in--the skeleton of his character; and to try to alter this is like training a sheep for draught purposes. GEORG CHRISTOPH LICHTENBERG, The Reflections of Lichtenberg We become familiar with the outsides of men, as with the outsides of houses, and think we know them, while we are ignorant of so much that is passing within them.
Happiness consists not of having, but of being; not of possessing, but of enjoying. It is a warm glow of the heart at peace with itself. A martyr at the stake may have happiness that a king on his throne might envy. Man is the creator of his own happiness. It is the aroma of life, lived in harmony with high ideals. For what a man has he may be dependent upon others; what he is rests with him alone.
I can't help but think that it's an unfortunate custom to name children after people who come to sticky ends. Even if they are fictional characters, it doesn't bode well for the poor things. There are too many Judes and Tesses and Clarissas and Cordelias around. If we must name our children after literary figures then we should search out happy ones, although it's true they are much harder to find.
After Blood Simple, everybody thought I was from Texas. After Mississippi Burning, everybody thought I was from Mississippi and uneducated. After Fargo, everybody's going to think I'm from Minnesota, pregnant, and have blonde hair. I don't think you can ever completely transform yourself on film, but if you do your job well, you can make people believe that you're the character you're trying to be.
I started in comedy when I first started as an actor on stage and doing improvisational theater and stuff like that. So a lot of people who know me know that sort of side of me. But I got the roles that I got as an young actor kind of steered me in a different direction, which were, at times, darker characters. And so comedy was not something that came easy for people to think of my in those terms.
Characters who are absolutely sure about what they do, who plunge ahead without fear, are not that interesting. We don’t go through life that way. In reality, we have doubts just like everyone else. Bringing your Lead’s doubts to the surface in your plot pulls the reader deeper into the story, and this is an excellent way to coax the reader to lose himself in the story world you’re about to create.
I don't know if directors go, 'Hey! We've got another suicide-let's call Robin Tunney! It's weird, but they're all different, and I guess it gives the characters some kind of power... At least I play women who are strong enough to take the power into their own hands! And kill themselves! So many women in films just shoot themselves in the head anyway, because they're not really there for any reason.
We know nothing of the trials, sorrows and temptations of those around us, of pillows wet with sobs, of the life-tragedy that may be hidden behind a smile, of the secret cares, struggles, and worries that shorten life and leave their mark in hair prematurely whitened, and a character changed and almost recreated in a few days. Let us not dare to add to the burden of another the pain of our judgment.
Obviously, ["Fences"] is a character-driven piece in every sense of the word, and Denzel [Washington] knows the actor. He gave us two weeks of rehearsal. He is a truth teller, and he is a truth seer. So he knows when something is not going in the right direction, and he will call you on it. But, he knows the word to use to unlock whatever is blocking you. So I think he's fabulous and he's a teacher.
To check centralization and usurping of power ... we require a new laissez-faire. The old laissez-faire was founded upon a misapprehension of human nature, an exultation of individuality (in private character often a virtue) to the condition of a political dogma, which destroyed the spirit of community and reduced men to so many equipollent atoms of humanity, without sense of brotherhood or purpose.
Improvisation, the main thing is it teaches you to be in the moment and present in the moment and be reactive and proactive for what's going on. Someone gives you something - a lot of actors are a little shut off, so they're just doing, "This is my character, these are my lines, I'm going to just send it to you then you send whatever you're sending." Improvisation teaches you to really be listening.
The truth is that the general genius of a government is all that can be substantially relied upon for permanent effects. Particular provisions, though not altogether useless, have far less virtue and efficacy than are commonly ascribed to them; and the want of them will never be with men of sound discernment a decisive objection to any plan which exhibits the leading characters of a good government.
There’s an old writing rule that says ‘Don’t have two character names start with the same letter’, but I knew at the beginning that I was going to have more than 26 characters, so I was in trouble there. Ultimately it comes down to what sounds right. And I struggle with that, finding the right name for a character. If I can’t find the right name I don’t know who the character is and I can’t proceed.
With mockumentaries, the conceit is that the characters are being interviewed, so you can start a scene and cut to a character looking at the camera and saying, "I'm working on this project," instead of having to figure out ways for people to talk naturally about what they're doing. You see this problem in pilots - people end up explaining things to each other that they'd never explain in real life.
I've never been about trying to promote a brand of Squarepusher. I've never been keen on that idea that these are the character traits that I've got to stick with and amplify and keep pushing forward and pushing on the public. I'm really happy to throw it all away and start each record with a blank slate but I concede you've got a point, there are things I can't get rid of, no matter how hard I try.
I watch a lot of different films. A lot of different performances and I find a lot of little things from the films or things that actors do or people in real life who have behaviors or idiosyncrasies that I like or find interesting and I try to remember that. And then I'll do a prayer. I'll do a prayer to ask the character or the spirit of the character to come and visit me. And let's work together.
I don't think I was particularly in need of superheroes. I never had any fascination with Superman or Spider-Man or a Batman kind of character. If it happened at all, it was imagined characters that I had invented. My dad was a role model for me. He was a fascinating man. There was intrigue and entertainment growing up with him. He gave me an edict that I still pursue: “Life should never be boring."
You know, we're the most undisciplined generation the world has ever knownhow many of you are disciplined? How many go to bed at the same time every night, get up every morning at the same time? How do you discipline your appetites, how do you discipline your tongue? We're the most weak, effeminate Christianity the world has ever had-no wonder nobody wants it. It has no strength, it has no character
I have always considered The Merry Wives one of the worst plays, if not altogether the worst, that Shakespeare has left us. The wit for the most part is dreary or foolish; the tone is coarse and farcical; and the characters want the fine distinctive touches he so well knew how to give. If some luckless wight had written such a comedy in our time, I should like to see what the critics would say to it?
This is a landmark work in the history of African American studies and American intellectual history. Writing with verve, Jackson brings to life a large cast of characters and traces an ongoing conversation among the writers and critics of this period. This book is likely to become a model for a new generation of scholars, both for the breadth of its engagement and the depth of its archival research.
Recently, results of the Human Genome Project have shattered one of Science's fundamental core beliefs, the concept of genetic determinism. We have been led to believe that our genes determine the character of our lives, yet new research surprisingly reveals that it is the character of our lives that controls our genes. Rather than being victims of our heredity, we are actually masters of our genome.
Characters work really well when they're reflective of the times that they're operating in. To keep these characters static - like Superman was invented in the '30s, Wonder Woman in the '40s - if they were still operating under those kinds of constraints, they'd die. These pop cultures, just like Greek myths, they have to reflect the time their stories are being told. That's what makes them relevant.
As a musician, I don't have one thing that's "my thing." I like to create, and have a lot of outlets for it. Dustin Hoffman is one of the guys that sets a model for me, because of how good he is at being such different characters. Every time you see DeNiro, he's pretty much DeNiro - great, but DeNiro. Hoffman is different every time, depending on his character. That's how I see myself as a performer.
A ghostly side note Soldier boy Miller played a Lucifer-like character in the final two episodes of Joan of Arcadia. Coincidence I do find it strangely poetic, ... that a character who shows up on a show about God to play something kind of satanic winds up in the very last two episodes of that show, and then appears in the show that replaces that show on its exact time and night the following season.
Also, with acting and dancing I portray a predetermined character and story for the most part, with music I have the creative freedom to create a song on a whim with whomever I choose and at whatever time I choose to do it. It's more liberating artistically and that's why I've stuck with it. It's a good balance to be able to portray a character and also be myself in avenues that I'm passionate about.
I prize the purity of his character as highly as I do that of hers. As a moral being, whatever it is morally wrong for her to do,it is morally wrong for him to do. The fallacious doctrine of male and female virtues has well nigh ruined all that is morally great and lovely in his character: he has been quite as deep a sufferer by it as woman, though mostly in different respects and by other processes.
I like Twitter more than Facebook. Twitter is a great way to deliver and get news. In news writing less is more and 140 characters is great. If you can't grab that headline in 140 characters than it's not a story. Viewers tweet all the time and they tell what stories they like and don't like. It's great to interact with them and get that instant feedback. It's great for the viewer and the journalist.
A person who suffers from a character disorder frequently has significant behavioral or emotional problems that will almost certainly spell disaster for any marital relationships. One of the most difficult aspects of identifying people with character disorders is that they tend to be unusually charming. People with these kinds of disorders tend to lie, cheat, exaggerate, and take advantage of others.
If these laws [in the Bible] belonged to any other ancient culture we would approach them very differently. We need not bother to reject the code of Hammurabi. Presumably it is because Moses is still felt to make some claim on us that this project of discrediting his law is persisted in with such energy. The unscholarly character of the project may derive from the supposed familiarity of the subject.
What I love in a woman is not what she is in and for herself, but the side of herself she turns towards me, what she is for me. I love her as character in our common love story. what wuld Hamlet be without the castle at Elsinore, without Ophelia, without all the concrete situations he goes through, what would he be without the text of his part? What would be left but an empty, dumb, illusory essence?
Without the Holy Spirit, Christian discipleship would be inconceivable, even impossible. There can be no life without the life-giver, no understanding without the Spirit of truth, no fellowship without the unity of the Spirit, no Christlikeness of character apart from His fruit, and no effective witness without His power. As a body without breath is a corpse, so the church without the Spirit is dead.
Terrifying. . . . A Dark Matter is populated with vivid, sympathetic characters, and driven by terrors both human and supernatural. It's the kind of book that's impossible to put down once it has been picked up. It kept me reading far into the night. Straub builds otherworldly terror without ever losing touch with his attractive cast of youngsters, who age beautifully. Put this one high on your list.
When I decided to write a novel about Istanbul, I thought I should put the different faces of Istanbul into one book. I also put the characters in a cell, and it's three stories underground, rather than on the surface. The characters have one Istanbul, the other one is above ground. One is in dark, one is in light. That kind of contradiction - those opposite sides - creates a great energy in Istanbul.
Have you not budged an inch, then? Such is the daily news. Its facts appear to float in the atmosphere.... We should wash ourselves clean of such news. Of what consequence, though our planet explode, if there is no character involved in the explosion? In health we have not the least curiosity about such events. We do not live for idle amusement. I would not run round a corner to see the world blow up.
I'm not suggesting at all that we take away all of the characters' vices. I am suggesting that this particular vice is so insidious, so nefarious, and so deadly that simply by glamorizing it or poisoning our young adults, and I think it's a very separate category, but in no way am I suggesting that we move on from banning smoking in movies to banning drinking, you know, or whatever else we want to do.
When we first sat down and talked about how much of the show we were going to do based on the movie, there are certainly things you can see right away, but we wanted to make sure that the audience who maybe never saw the movie or has maybe never seen any of the Marvel characters before - and I know there's three of them left on the planet - could have someone that could be their eyes and take them in.
Truth is stranger than fiction," as the old saying goes. When I watch a documentary, I can't help crying and then I think to myself, "Fiction can't compete with this." But when I mentioned this to a veteran manga artist friend of mine he said that "fiction brings salvation to characters in stories that would otherwise have no salvation at all." His words strengthened the conviction of my manga spirit.
It was fun figuring out the science of the world as much as we wanted to figure out, and then playing fast and loose in other places. Which we do with our show in general. One of the things we love about the BoJack Horseman show is that we can always fall back on, "It's a ridiculous cartoon." And it is! It's a serious, relationship-based grounded character tragedy, but it is also a ridiculous cartoon.
Danny Boyle has been a huge, has had a huge effect on me. His movies, early movies like Trainspotting and those movies. So I've always loved the energies of those movies. But also, that they are very focused on the characters. Cause it's not only gimmickery, it's not only about visuals. You feel a real need, a love for the main characters. So that's what I've always loved about watching movies myself.
A well-fashioned day - with a beginning and an end, a purpose and a content, a color and a character, a feel and a texture - takes it place among the many and becomes a valuable memory and treasure. At midnight the winged messengers come and gather up all these pieces and take them off to wherever the mosaic is kept. And surely, on occasion, one messenger says to another, 'Wait 'til you see this one.'
But the wise know that foolish legislation is a rope of sand, which perishes in the twisting; that the State must follow, and notlead the character and progress of the citizen; the strongest usurper is quickly got rid of; and they only who build on Ideas, build for eternity; and that the form of government which prevails, is the expression of what cultivation exists in the population which permits it.
If we can implant in our people the Christian virtues which we sum up in the word character, and, at the same time, give them a knowledge of the line which should be drawn between voluntary action and governmental compulsion in a democracy, and of what can be accomplished within the stern laws of economics, we will enable them to retain their freedom, and at the same time, make them worthy to be free.
There are minerals called hydrophanous, which are not transparent till they are immersed in water, when they become so; as the hydrophane, a variety of opal. So it is with many a Christian. Till the floods of adversity been poured over him, his character appears marred and clouded by selfishness and worldly influences. But trials clear away the obscurity, and give distinctness and beauty to his piety.
Nor do piecemeal steps however well intended, even partially resolve problems that have reached a universal, global and catastrophic character. If anything, partial 'solutions' serve merely as cosmetics to conceal the deep seated nature of the ecological crisis. They thereby deflect public attention and theoretical insight from an adequate understanding of the depth and scope of the necessary changes.
I'm often asked, Which is more important--attitude or skill? The answer is that it's somewhat like asking which leg of a three-legged stool is most important. It is my complete conviction, based on a considerable amount of research, that if you have the right attitude, combined with the right skills, and build your attitude and your skills on a solid character base, you can enjoy long-lasting success.
Do you ever get moods when life seems absolutely meaningless? It's like a badly-constructed story, with all sorts of characters moving in and out who have nothing to do with the plot. And when somebody comes along that you think really has something to do with the plot, he suddenly drops out. After a while you begin to wonder what the story is about, and you feel that it's about nothing—just a jumble.
I was powerless over my childhood but the coping strategies that I developed, to survive, all of which were creative and brilliant and got me through, as an adult those became my defects of character. Those became my shortcomings, control and all that kind of stuff... and that's my responsibility. I was a blameless child in what happened in the home; I take responsibility for my behaviors as an adult.
You get to know a character that you play on-stage in a pretty profound way over a length of time. I don't want to sound highfalutin and say you become the character, you just start bringing more and more of yourself to the part until the character and actor, it's hard to tell them apart. It's some weird amalgam. In film, because of the period of time, I don't know that you ever get that deep into it.
I was working with actors who were very easy to work with, but I can just imagine how, with all the other decision-making problems that come up along the way, in addition to that, the whole point of what your doing is following performance and character development. You're building your story with those building blocks, and it is not easy. I've only come out with more respect for directors, from this.
At about the age of seven … I wrote exactly the kinds of stories I was reading: All my characters were white and blue-eyed, they played in the snow, they ate apples, and they talked a lot about the weather: how lovely it was that the sun had come out. This despite the fact that I lived in Nigeria; we didn’t have snow, we ate mangoes, and we never talked about the weather, because there was no need to.