Best 14098 quotes in «character quotes» category

We do not judge men by what they are in themselves, but by what they are relatively to us.

We do not need more knowledge, we need more character!

We don't condone it, but it happened. Is there a concern Yes, there is a concern. People are going to think what they think. But the reality is, I know the players we have, I know the character we have. We're recruiting the right people.

We do not need more material development, we need more spiritual development. We do not need more intellectual power, we need more moral power. We do not need more knowledge, we need more character. We do not need more government, we need more culture. We do not need more law, we need more religion. We do not need more of the things that are seen, we need more of the things that are unseen. It is on that side of life that it is desirable to put the emphasis at the present time. If that side be strengthened, the other side will take care of itself.

We do not see everything in the environment in the complete, totally resolved, explicit character of the photograph. We, in fact, prioritize our seeing.

We don't live for realities, but for the fantasies, the dreams of what might be. If we lived for reality, we'd be dead, every last one of us. Only dreams keep us going...When you are acting, don't settle for anything less than the biggest dream for your character's future.

We don't run out of stories, because of the characters. But also every year, the NFL, like a crazy rich uncle we never see, just drops some stories off at our door.

We don't see many films in which someone with schizophrenia is the main character.

We even talked like Hemingway characters, though in travesty, as if to deny our discipleship: That is your bed, and it is a good bed, and you must make it and you must make it well. Or: Today is the day of the meatloaf. The meatloaf is swell. It is swell but when it is gone the not-having meatloaf will be tragic and the meatloaf man will not come anymore.

We don't usually start out with a plot that we can pitch in two lines. We spend a year brainstorming and discussing ideas that are sometimes of a visual nature, sometimes just about characters and then we try to structure the story.

We face a hostile ideology global in scope, atheistic in character, ruthless in purpose and insidious in method.

We falsely attribute to men a determined character - putting together all their yesterdays - and averaging them - we presume we know them. Pity the man who has character to support - it is worse than a large family - he is the silent poor indeed.

We first make our habits, and then our habits make us.

We get a little further from perfection, each year on the road, I guess that's what they call character, I guess that's just the way it goes, better to be dusty than polished, like some store window mannequin, why don't you touch me where i'm rusty, let me stain your hands

We give you characters we'd feel very comfortable judging, and then go: 'Oh yeah? Watch this'.

We go to the mountain for enlightenment, for self-realization, for adventure, for discovery. It's pregnant with meaning. When people see a mountain, they invest it with meaning. Not plot. Not character.

We grow up hearing so often that a straight line is the shortest distance between two points that we end up thinking it is also the best way to get there. A river knows better-:it has to do with how it dissipates the energy of its flow most efficiently; and how, in its bends, the sediment deposited soon turns into marshes and swampy islands, harboring all manner of interesting life, imparting charm and character to the whole waterway. I would defy you to find a river on this planet that prefers to run straight, unless it has been taught so by the U.S. Army Corps of Engineers.

We had some ups and downs, creatively, as the season went on, which is true of any show. If you compound that by the production that we go through, in terms of original songwriting and recordings, and all that is happening simultaneously, where we didn't do as good a job, as I hope we do this year, is the arcing of the storylines and the consistency of going in one direction with a character, and continuing in a really interesting way with that arc.

We had to do the same thing here. To top that sequel was quite a task. Mike had a couple of good conceptual humour and character ideas, which got me back into it.

We had the great good fortune and shortcomings of character that marked every generation that had never seen war.

We had 1 book, the phone book, I've read it, it wasn't a great read, lots of characters, and on the end loads of polish people turn up.

We hardly know an instance of the strength and weakness of human nature so striking and so grotesque as the character of this haughty, vigilant, resolute, sagacious blue-stocking, half Mithridates and half Trissotin, bearing up against a world in arms, with an ounce of poison in one pocket and a quire of bad verses in the other.

We have African-Americans and black people getting behind the scenes more and more, we get true black images in television and film...because we have black people behind them. They can tell stories from those points of view and bring to life those characters who have yet to be shown. As long as we have people behind the camera just as much as in front of the camera doing the work, then we'll always be good.

We have a slate of four films. From Karen Young - the USA bestselling author - we have Blood Bayou. Again, we're relying on the story to tell itself and the characters tell it and not (relying on) shock value. It's a suspenseful drama...The best way I can describe it is Pelican Brief meets Time to Kill.

WE HAVE HAD OUR LAST CHANCE. THE PROBLEM NOW IS BASICALLY THEOLOGICAL, AND INVOLVES SPIRITUALITY AND IMPROVEMENT OF human CHARACTER. IT MUST BE OF THE SPIRIT IF WE ARE TO SAVE THE FLESH.

We have every reason to say, and I note this with great satisfaction, that a truly friendly relationship has evolved with China, and in many key areas these relations, without any exaggeration, have a strategic character. As we say, the strategic character of privileged partnership.

We have hardly an adequate idea how all-powerful law is in forming public opinion, in giving tone and character to the mass of society.

We have divided the Virtues of the Soul into two groups, the Virtues of the Character and the Virtues of the Intellect.

We have created characters and animated them in the dimension of depth, revealing through them to our perturbed world that the things we have in common far outnumber and outweigh those that divide us.

We have gotten away from this double aspect of either putting the character back into historical events or of making a historical event of his very life.

We have no filter for music, but we feel it when what's being spoken and sung is telling a story and evidencing a character.

We have only two sources of information about the character of the people around us: we judge them by what they do and by what they say (particularly the first).

We have that illusion that we are 'deciding' what to make a character do, in order to 'convey our message' or something like that. But, at least in my experience, you are often more like a river-rafting guide who's been paid a bonus to purposely steer your clients into the roughest possible water.

We have the character of an island nation: independent, forthright, passionate in defence of our sovereignty. We can no more change this British sensibility than we can drain the English Channel. And because of this sensibility, we come to the European Union with a frame of mind that is more practical than emotional.

We have this saying, and it's been very useful when a series, 'The Mindy Project' goes for longer than a hundred episodes, which is Mindy character can never get what she wants when she wants it. We enjoyed it because it felt very real to her character to make a big impulsive move and it seems like she has everything, this instant family, a guy she loves and then there's a moment of panic.

We have to give our poor, innocent, and undeserving-of-our-badness characters trouble in order to make them characters in a story.

We have to say now we think the character of the party has changed so far it will take something very exceptional, something really out of the ordinary line to make us be convinced there's a chance of winning back the party.

We have to keep company with supposedly bad characters if we are to survive and not succumb to mental atrophy. People of good character, so called, are the ones who end up boring us to death.

We have to wear clothes, a requirement of custom, but more time, temper, character, and peace of mind, not to mention money, have been sacrificed to them than to any other altar on this green earth, and for what?

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.

We just, you know, we're just sort of doing it like Bewitched, because we just think that the character of Kenny is so specific and so outrageous and so fun. And by far the hardest character to cast out of everybody to find someone who was capable of, you know, doing, you know, the comedy and just with the broadness and to be also just a really brilliant actor, you know, to do naturalism.

Weirdly enough, I don't like to pretend. I try to use things in me, and translate them into the situation and the characters, so it always needs to run through my own veins.

We knew Terry Brooks' work, but we hadn't read the Shannara books. So, they sent us the book to read and we just loved the story and the characters. We thought it would make a very compelling season of television. We were like, "Someone is going to make this. Why don't we do it?

We in Illumination Entertainment tend not to put ideas through a brand funnel. We've collected a group of people who share a certain taste, and that is connected to our aspirations for our brand. We pride ourselves on making character-centric movies. If I had to say what's the most important thing this company does, it's creating characters that stay with the audience long after they leave the theater.

Weird, but sometimes I feel more like my cartoon character than I do Lizzie because she's a little more edgy and snappy.

We just worked hard to not just get things right and authentic, but also to make it consistent and visually right. For instance, there are colours that aren't in the film that would have been there in reality. I think part of the look of the film not only has to do with the way it's shot and lit, but also the lack of certain colours that give it a softness which really suits it because there's more focus on the characters. For instance, there's no yellow at all until we get to Miss Stubbs' flat at the very end.

We knew before we came (to earth) that there would be many adverse circumstances to test us: accidents, sickness, and disease to prove us; temptations and distractions to try us; disappointments, discouragements, reverses, failures and all kinds of situations to determine our character.

We know that communism is the right hypothesis. All those who abandon this hypothesis immediately resign themselves to the market economy, to parliamentary democracy-the form of state suited to capitalism-and to the inevitable and 'natural' character of the most monstrous inequalities.

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.

We know that passion, prejudice, party, and even good-will, tempt many who preserve a fair character with the world to deviate from truth in the laxity of conversation.