Best 14098 quotes in «character quotes» category

Citizenship to me is more than a piece of paper. Citizenship is also about character. I am an American. We're just waiting for our country to recognize it.

Civilization is first of all a moral thing. Without truth, respect for duty, love of neighbor, and virtue, everything is destroyed. The morality of a society is alone the basis of civilization.

Civilization can only revive when there shall come into being in a number of individuals a new tone of mind, independent of the prevalent one among the crowds, and in opposition to it - a tone of mind which will gradually win influence over the collective one, and in the end determine its character. Only an ethical movement can rescue us from barbarism, and the ethical comes into existence only in individuals.

Classic author moment, "Oh dear, did I kill that character or not?

Cliché openings in fantasy can include an opening scene set in a battle (and my peeve is that I don’t know any of the characters yet so why should I care about this battle) or with a pastoral scene where the protagonist is gathering herbs (I didn’t realize how common this is).

Classic burlesque in the style of Gypsy which many modern burlesque troupes practice is, at its core, so playful and teasing and innocent. It's not hardcore stripping so much as letting your body tell a story; the women are playing characters and unfolding a complete narrative onstage, with beginning, middle, and end.

Clean living is the cardinal principle in the lives of the world's greatest athletes, as the phenomenal performances of these outstanding characters will obviously show.

Clearly, you can think back and see that a character has had enormous odds stacked against him and has to overcome them. It's usually a guy, I'm afraid. But then you're setting up a new movie you have amnesia about these meetings, when you've discussed it more analytically.

Clearly, Im drawn to characters with inner conflicts.

Clever's not enough to hold me - I want characters who are more than devices to be moved about for Effect.

Clifford paints true-to-life characters with the same gritty touch as the best of Dennis Lehane. Straightforward and edgy, Lamentation gnaws with nail-biting tension on every page. A must-read for contemporary hardboiled mystery fans who appreciate the type of terse dialogue and real life conflicts and settings Elmore Leonard so richly brought to life.

Clothing is the first step to building a character.

Climate helps to shape the character of peoples, certainly no people more than the English. The uncertainty of their climate has helped to make the English, a long-suffering, phlegmatic, patient people rather insensitive to surprise, stoical against storms,. slightly incredulous at every appearance of the sun, touched by the lyrical gratitude of someone who expects nothing and suddenly receives more than he dreamed.

Clothes are part of the character. They can't but help inform who you are.

Cognitive and character skills work together as dynamic complements; they are inseparable. Skills beget skills. More motivated children learn more. Those who are more informed usually make wiser decisions.

[C. Montgomery] Burns is much purer evil than Nixon was. I think it's the purity of his evil that attracts me as a comic character.

Color is made to obscure the brightest endowments, to degrade the fairest character, and to check the highest and most praiseworthy aspirations.

Colin Morgan gives a stunning performance in Parked; he plays Merlin in the BBC TV show and he says the two characters are like night and day. Watch him. He’s got everything it takes to be top notch.

Comedy is commitment and playing a character and falling into the role, and I've been doing that since I was 19 years old.

Comedy historians take note: this Gottfried character doesn't have the best eye for detail - and, for a Jew, he doesn't have the best eye for retail, either.

Comedy is immediate. Comedy is a solo mission. You're all by yourself, up there. And when you're in a film, on a set, it's a collaborative effort. It's about me being a tool for somebody else to create a story and a character from nothing, from their imagination.

Comedy comes from a place of hurt. Charlie Chaplin was starving and broke in London, and that's where he got his character 'the tramp' from. It's a bad situation that he transformed into comedic one.

Comedy, drama, Westerns, sci-fi... it's all fine if the story's compelling and the character is interesting to me. I do like action a lot.

Comedy always works better when you're tracking the story and you care about the characters. That's why there's a lot of movies where there's not a ton of jokes, but you get huge laughs because there's a moment of relief.

Comedy and drama are different sides of the same coin. And the thing about comedy and drama is about likability. It's about character first. It's about story. And for me, it's about empathy, and I think the realer someone is, the further you can go either way with them.

Comic book characters are characters who wear costumes. They're not necessarily different than other characters. The trend I think that you're seeing are comic book movies, at least the ones that Marvel makes, don't have comic book stories. They have dramatic human stories.

Comic book fans have loved Wolverine, and all the 'X-Men' characters, for more than the action. I think that's what set it apart from many of the other comic books. In the case of Wolverine, when he appeared, he was a revolution really. He was the first anti-hero.

Comics have a problem, and that is continuity - the obsession with placing the characters in an existing world, where every event is marked in canon. You're supposed to believe that these weepy star boys of now are the same gung-ho super teens fighting space monsters in the '60s, and they've only aged perhaps five years.

Comics are expensive. Don’t make me resent the money I spend buying yours. Every single moment in your script must either move the story along or demonstrate something important about the characters — preferably both — and every panel that does neither is a sloppy waste of space.

Come seeking to know Him, and I promise you will find Him and see Him in His true character as the risen, redeeming Savior of the world.

Comics as art. I do comics as comics, and my opportunity to tell stories. Simple. Basic. Let the characters have the excitement, not the package. That's where I come from.

Comedy really is my bread and butter, even when I'm doing a serious character, with the exception of Outcast. I have found very little humor in this character. Most of the time, what I do, somewhere there is comedy in it.

Coming from the theatre I have played some fabulous characters where I get to wear gowns and I get to be a princess or someone from the 1920s, or I get to wear showgirl costumes. I'm used to wearing a wardrobe that changes how I feel.

Coming from being a dancer, it was a great way for me to transition into being an actress. I get to really be expressive through my physical self, and that was just a comfortable way for me to start experimenting with how to get my character across.

Coming from theater, and having been to acting school, and done little, small Australian independent movies, a lot of the time, it's always about character.

Commerce is of trivial import; love, faith, truth of character, the aspiration of man, these are sacred.

Common-sense appears to be only another name for the thoughtlessness of the unthinking. It is made of the prejudices of childhood, the idiosyncrasies of individual character and the opinion of the newspapers.

Commonplace though it may appear, this doing of one's duty embodies the highest ideal of life and character. There may be nothing heroic about it; but the common lot of men is not heroic.

Commitment is what transforms a promise into a reality... Commitment is the stuff character is made of; the power to change the face of things. It is the daily triumph of integrity over skepticism.

Coming from TV and film, rule number one is that you always service the main character first and foremost. If that's not working, you've got nothing.

Common to all these types is the anthropomorphic character of their conception of God. In general, only individuals of exceptional endowments, and exceptionally high-minded communities, rise to any considerable extent above this level. But there is a third stage of religious experience which belongs to all of them, even though it is rarely found in a pure form: I shall call it cosmic religious feeling. It is very difficult to elucidate this feeling to anyone who is entirely without it, especially as there is no anthropomorphic conception of God corresponding to it.

Compared with men, it is probable that brutes neither attend to abstract characters, nor have associations by similarity. Their thoughts probably pass from one concrete object to its habitual concrete successor far more uniformly than is the case with us. In other words, their associations of ideas are almost exclusively by contiguity. So far, however, as any brute might think by abstract characters instead of by association of con cretes, he would have to be admitted to be a reasoner in the true human sense. How far this may take place is quite uncertain.

Compassion for animals is intimately associated with goodness of character, and it may be confidently asserted that he who is cruel to animals cannot be a good man.

Compassion is the belief that things might improve, and even when there's little, if anything, to sustain and engender that belief. It's the place from which I write, and the more troubled the circumstances, the deeper into the hearts and psyches of these characters I'm likely to go, opening every door in that dark hallway, and walking all the way in.

Compassion may be called the fundamental of all good art because it alone can tell you what other beings feel and experience. Only compassion severs the bonds of your personal limitations, and gives you deep access into the inner life of the character you study, without which you cannot properly prepare it for the stage

Compelling characters are not cogs in the machine of your plot; they are human beings to whom the story happens.

Complete freedom debilitates art but reveals much about character.

Computer science is to biology what calculus is to physics. It's the natural mathematical technique that best maps the character of the subject.

Completely committed to adapting 'Fifty Shades of Grey'. This is not a joke. Christian Grey and Ana: potentially great cinematic characters.

Conceit is a fog that envelops a man's real character beyond his own recognition. It weakens his native ability and strengthens all his inconsistencies .