Best 14098 quotes in «character quotes» category

The world may take your reputation from you, but it cannot take your character.

The World's a Printing-House, our words, our thoughts, Our deeds, are characters of several sizes. Each soul is a Compos'tor, of whose faults The Levites are Correctors; Heaven Revises. Death is the common Press, from whence being driven, We're gather'd, Sheet by Sheet, and bound for Heaven.

The world values the seer above all men, and has always done so. Nay, it values all men in proportion as they partake of the character of seers. The Elgin Marbles and a decision of John Marshall are valued for the same reason. What we feel in them is a painstaking submission to facts beyond the author's control, and to ideas imposed on him by his vision. So with Beethoven's Symphonies, with Adam Smith's Wealth of Nations - with any conceivable output of the human mind of which you approve. You love them because you say, These things were not made, they were seen.

The world values the seer above all men, and has always done so. Nay, it values all men in proportion as they partake of the character of seers. You love them because you say, These things were not made, they were seen.

The worst evil is - and that's the product of censorship - is the self-censorship, because that twists spines, that destroys my character because I have to think something else and say something else, I have to always control myself.

The writer has to make pleasure for the reader - which, I think, is done by taking one's character's seriously and taking one's readers seriously -don't condescend or try to be tricky. Be a friend to your reader - I'd say that's a pretty good first step.

The writer must always leave room for the characters to grow and change. If you move your characters from plot point to plot point, like painting by the numbers, they often remain stick figures. They will never take on a life of their own. The most exciting thing is when you find a character doing something surprising or unplanned. Like a character saying to me: ‘Hey, Richard, you may think I work for you, but I don’t. I’m my own person.’

The worth of a person’s thought is measured not by the quantity but by the quality of the support that it has got and this quality is defined by a single factor, which is only people’s human character.

The writer by nature of his profession is a dreamer and a conscious dreamer. He must imagine, and imagination takes humility, love and great courage. How can you create a character without live and the struggle that goes with love?

The writer of stories or of novels settles on men and imitates them; he exhausts the possibilities of his characters.

The worst thing you can do as a performer is to judge your character in any way, positively or negatively.

The writer's original perception of a character or characters may be as erroneous as the reader's.

The writer's job is to get the main character up a tree, and then once they are up there, throw rocks at them.

They are more properly ‘The Messengers of Satan to buffet us.’ No rulers are properly God’s ministers, but such as are ‘just, ruling in the fear of God.’ When once magistrates act contrary to their office, and the end of their institution when they rob and ruin the public, instead of being guardians of its peace … they immediately cease to be the ordinance and ministers of God, and no more deserve that glorious character than common pirates and highwaymen.

They are slaves who fear to speak, for the fallen and the weak.

They all laughed. I drew their pictures and they asked for copies and I handed them out as if they were my tickets to the show. In the Navy Yard, I could drink with men because I worked with men; in the Parkview, I could drink with men because I drew their pictures. The world was a grand confusion. Finally, when I was bleary, when my hand wouldn't do what I wanted it to do, I went home. I would lie alone in the dark, feeling that I was a character in a story that had lost its plot.

They always say, doing what I do for a living, write what you know and then people will respond to it. I luckily had a very charming, lovable mom who I think everybody could see bits and pieces of their mom in. All I had to do was write a character that was like my mom, and it made my life easier.

They did that little thing on South Park, and they mentioned my name and had a character of me judging a Halloween contest. It was really funny. That made me the coolest aunt on earth.

They didn't accept me theory - not a theory, but just a thought I had about this character. I noticed that this man only exists when the boy comes into the grocery.

They [comic books] are not a genre, they are not something to get hot and cold from one year to the next, they're the exact same thing as books and plays: they are a source of great stories and colorful characters.

They love him, gentlemen, and they respect him, not only for himself, but for his character, for his integrity and judgment and iron will; but they love him most for the enemies he has made.

They [my characters]speak to me all the time! In fact some of them never shut up!

They really stay just characters to me. I look at them, and I don't see always the same person up there. And hopefully, people will see that too. Because it's very easy to bore people, and that's a killer. So hopefully that won't happen.

They [teachers] beat it right out of me. Or they beat it into me and educated it out of me. I don't know; that's an interesting question. The Catholic schools required work, so I think that may have been where the work ethic came from, in answer to the question of how my character may have been shaped.

They weren't impatient for the boys to turn into cartoons again. They awarded sympathy, gave compassion. Because deep down they had found parts of themselves in the characters. You said it George.

The Zen Master was constantly attempting to break up concepts that people had about what it was like to be a spiritual teacher. We have a traditional image. Each Zen master was a complete character.

Thierry is the best striker in the world. By far he's the best in the world. Thierry doesn't just score goals. Even when he's not having a good day he can make an important pass. He is a strong character. If things go wrong, he bounces straight back. His effect on the club is very big.

Things that go on at Happy Times are very funny this year, and if you were watching last year, some of the people you saw then as basically extras emerge as real characters in their own right this season, at least to some degree.

Things present themselves to you, and it's how you choose to deal with them that reveals who you are. We all say a lot of things, don't we, about who we are and how we think. But in the end it's your actions, how you respond to circumstance that reveals your character.

Thinking is the place where intelligent actions begin. We pause long enough to look more carefully at a situation, to see more of its character, to think about why it's happening, to notice how it's affecting us and others

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.

Think of every character as a main character. They believe they're the main characters in their stories. No one should just be an obstacle.

Third person allows a deeper exploration of the relationships between characters. We can see their misunderstandings and hear what they think about each other. We can create a more complex structure with various story threads running parallel.

This absurd, godless world is, then, peopled with men who think clearly and have ceased to hope. And I have not yet spoken of the most absurd character, who is the creator.

This basic thing I always do: 'What happened between the character's birth, and page one of the script?' Anything that's not in the story, I'll fill in the blanks.

This character in the film, these things that he says which sound like advice and wise things, they are very common for Orientals. It's all the tradition.

This curious faith is predicated on the notion that we will soon develop unlimited new sources of energy: domestic oil fields, shale oil, gasified coal, nuclear power, solar energy, and so on. This is fantastical because the basic cause of the energy crisis is not scarcity: it is moral ignorance and weakness of character. We don't know how to use energy or what to use it for. And we cannot restrain ourselves. Our time is characterized as much by the abuse and waste of human energy as it is by the abuse and waste of fossil fuel energy.

This fundamental subject of Natural Selection will be treated at some length in the fourth chapter; and we shall then see how Natural Selection almost inevitably causes much Extinction of the less improved forms of life and induces what I have called Divergence of Character.

This idea, as you know, that I have firm convictions that the idea of issues being a big deal where our mutual friend went back and he felt so strongly that the determining factor in electoral success should be a proven character.

This idea that a book can either be about character and feeling, or about politics and idea, is just a false binary. Ideas are an expression of the feelings and the intense emotions we hold about the world.

This I conceive to be the chemical function of humor: to change the character of our thought.

This is a corny actor thing to say, but the first step is that you can't judge the character that you're playing. If it's built in three-dimensional fashion, you'll just play a character who's going out and seeking the best version of their life that they can find. That gives the character an accessibility that everyone can identify with.

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.

This is a tried and true genre directed by a guy who's famous for character work. This could take a genre picture and lift it and elevate it. That was my thinking.

This is an area you always need to address when you're dealing with Dracula is the fact that there is something kind of attractive in his darkness - which there isn't in other horror characters.

This is a work of fiction. All the characters in it, human and otherwise, are imaginary, excepting only certain of the fairy folk, whom it might be unwise to offend by casting doubts on their existence. Or lack thereof.

This is one of the cruelties of the theatre of life; we all think of ourselves as stars and rarely recognize it when we are indeed mere supporting characters or even supernumeraries.

This is one of the ways fiction is more liberating than nonfiction - I don't have to be so concerned with fact. I had the paradigm of certain people in my head who became my characters, but I never considered these people to be from a "certain sector of society," unless we agree that we're all from certain sectors of society.

This is really funny, but we did a study of the occupations of female characters on TV, and there are so many female forensic scientists on TV because of all the CSI shows and Bones and whatever. I don't have to lobby anybody to add more female forensic scientists as role models. There's plenty.In real life, the people going into that field now are something like two-thirds women.

This is one of his most human and most amusing and witty novels. The characters are very Indian. I decided that I wanted to do a comedy, so this was just the right one.