Best 14098 quotes in «character quotes» category

Until a character becomes a personality it cannot be believed.

Until we all start to take responsibility, until we do all we can to improve the character of our communities, we'll never break the cycle of violence and indifference.

Up to here, in general, we have mainly stuffed the brain of the young people with a indigestible multitude of varios notions, without thinking about enough of the prime necessity to form their character.

Up until college age I was using the typical little-boy dummy that sits on the knee and makes woodpecker jokes. My first original character didn't happen until later, and that was Jose the Jalapeno on a Stick.

Up until the Depression, recession had a moral character: it was supposed to purge the body economic of the greed and excess that attends a business expansion.

Usually, at the end of a film it's like I've finally gotten to know this person completely, and then we're done. That actually happened on the set of Twilight, and then it happened again on New Moon. Each time my character Bella became a different person, and I got to know that person and take her to the next level.

Usually my characters, though young, tend to be street-wise.

Usually the characters I play are men of few words, who communicate in non-verbal ways.

Usually I like playing other people. I like finding myself through other characters. But when you do cabaret, you are yourself. I think it's the most fun, and I tell you, if somebody had told me that, I would have done it fifteen years earlier than I did.

Usually I'm frustrated when I look at my films and I don't believe that I've made a real transformation beyond my usual sets of gestures and expressions. I still have this nagging feeling that it's me, that I didn't create a unique character.

Usually, the creating of the book happens while I'm writing the book. I start with Chapter One, with a few ideas and a handful of characters, and the book grows from there.

Usually there is a paradox in what a character wants. A conflict is built deeply within them. And then you put them in motion, throw everything at them until they reveal themselves further.

Usually with film writing I start with characters, and set about writing their story.

Using the stratagem of defining character by what changes and what remains the same, the one constant always seems to be regret. We are defined by the objects of our regret.

Usually at the end of each story we're thrown clear out of the story's world and then we're given a new world to enter. What's unique about a linked collection is that it can deliver both sets of narrative pleasures - the novel's long immersion into character-world and the story anthology's energetic (and mortal) brevity - the linked collection is unique in its ability to be both abrupt and longitudinal simultaneously.

Usually I approach to acting completely blindfolded. I read the script, I connect to the character, and then I try not to think about it too much until I'm there and I'm in wardrobe and I'm with the other actors and we're going through the scene once.

Usually most characters I play are quite realistic.

Usually the characters are where I start. Then I continually ask myself, 'What's the worst thing that could happen to this character?'

Usually the German translators do something terrible, especially with Tom Wolfe, which is that they make it local. So if the characters are from Harlem, the translators put all this Berlin slang into their mouths, and that's just terrible. You cringe when you read that. But there really is no good solution to the problem, except learning English.

Usually when you start the characters, the first thing is the script. Your design work is about telling the story. It's later that casting comes into play, but it's a huge component.

Value work. But not any kind of work. Ask yourself "Is the work vital, strengthening my own character, or inspiring others, or helping the world?".

Vanity was the beginning and the end of Sir Walter Elliot's character; vanity of person and of situation.

Vain men delight in telling what Honours have been done them, what great Company they have kept, and the like; by which they plainly confess, that these Honours were more than their Due, and such as their Friends would not believe if they had not been told: Whereas a Man truly proud, thinks the greatest Honours below his Merit, and consequently scorns to boast. I therefore deliver it as a Maxim that whoever desires the Character of a proud Man, ought to conceal his Vanity.

Vanity was the beginning and the end of Sir Walter Elliot's character; vanity of person and of situation. He had been remarkably handsome in his youth; and, at fifty-four, was still a very fine man. Few women could think more of their personal appearance than he did, nor could the valet of any new made lord be more delighted with the place he held in society. He considered the blessing of beauty as inferior only to the blessing of a baronetcy; and the Sir Walter Elliott, who united these gifts, was the constant object of his warmest respect and devotion.

Vanity is the natural weakness of an ambitious man, which exposes him to the secret scorn and derision of those he converses with, and ruins the character he is so industrious to advance by it.

'Veronica Mars' was my first job, and for some reason, my character changed her hairstyle halfway through the season from curly to - I dont even know why - suddenly straight.

Variety is a positive requisite even in the character of our food.

"Vell," said Mr. Weller, "Now I s'pose he'll want to call some witnesses to speak to his character, or p'raps to prove a alleybi. I've been a turnin' the bis'ness over in my mind, and he may make his-self easy, Sammy. I've got some friends as'll do either for him, but my adwice 'ud be this here-never mind the character, and stick to the alleybi. Nothing like a alleybi, Sammy, nothing.

Vermont tradition is based on the idea that group life should leave each person as free as possible to arrange his own life. This freedom is the only climate in which (we feel) a human being may create his own happiness. ... Character itself lies deep and secret below the surface, unknown and unknowable by others. It is the mysterious core of life, which every man or woman has to cope with alone, to live with, to conquer and put in order, or to be defeated by.

Very few of my characters are totally heroic or totally villainous.

Venerate four characters: the sanguine who has checked volatility and the rage for pleasure; the choleric who has subdued passion and pride; the phlegmatic emerged from indolence; and the melancholy who has dismissed avarice, suspicion and asperity.

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.

Very interesting show. It's "Hotel" with the E missing. Hot L Baltimore. It was about a rundown hotel which had become kind of a residential not quite welfare but almost welfare hotel with a very bizarre collection of people.The desk clerk was played by Jamie Cromwell. That was his first big thing. Conchata Ferrell played April, the main of the two prostitutes, and my character didn't exist in the [stage] show.

Vice does not lose its character by becoming fashionable.

Very thorough in the rehearsal process but more in terms of just understanding the characters, understanding where the actors are at with discovering those characters for themselves, and just setting an overall emotional tone for the piece as opposed to necessarily getting things up on their feet or staging scenes.

Viewers can hate a character and at the same time can't take their eyes off of him.

Villages are small and personal, and their inhabitants have names, characters, and personalities. What more appropriate concept on which to base our institutions of the future than the ancient social unit whose flexibility and strength substained human society through millenia?

Virtually every kid is exposed to giants and ogres and talking wolves, and so forth. And magic. And I think you never outgrow your love for those imaginative, fanciful, farfetched, fantastic characters and situations.

Virgil has very finely touched upon the female passion for dress and shows, in the character of Camilla; who though she seems to have shaken off all the other weaknesses of her sex, is still described as a woman in this particular.

Virginia Mayo had kind of a small role in The Best Years of Our Lives, but you got the whole character in one scene. Where are those parts? I was talking to somebody about great actors: Morgan Freeman's name came up, Forest Whitaker, Denzel Washington. And I realized, there're no black actresses. Where's there a black actress who's been extremely successful in the past 10 years?

Visual forms are not perceived differently from colors or brightness. They are sense qualities, and the visual character of geometry consists in these sense qualities.

Visually through my work, over and over, I'm trying to create characters that are - to some people they may be monstrous, and I hate that word, because I think they're just unique. Misfits. I purposefully want to present something a little different so that whether people are disturbed by it or not, they can wrestle with it.

Voting in particular is an embarrassment, being a public display of weak character and low intelligence. Let us face the truth: Democracy, like spitting in public or the Roman games, is the proper activity of the lower intellectual and moral classes. It amounts to collusion in one's own suckering.

Vociferation and calmness of character seldom meet in the same person.

Vivisection is a social evil because if it advances human knowledge, it does so at the expense of human character.

Voice isn't fixed or unmalleable, it adapts to the characters you are creating and the story being told. I suppose in some way that's true in life - a little flexibility goes a long way.

Vulnerability is huge. I love to see that in characters. It's something I feel like a lot of my comedic heroes have always done.

Wanting to be liked means being a supporting character in your own life, using the cues of the actors around you to determine your next line rather than your own script. It means that your self-worth will always be tied to what someone else thinks about you, forever out of your control.

Walt Disney said everything he had ever accomplished was a result of Mickey Mouse. Mickey was Walt's alter ego and he was originally modeled after Charlie Chaplin's Little Tramp character. So without Chaplin, who knows what Mickey would have become!

Walt Disney was a great believer in the use of song to convey story. He was primarily a storyman & story-driven songs were his 'pets.' He always asked what was going on with the song - he hated 'singing heads.' He loved learning about character & motivation thru music & lyrics.