Best 14098 quotes in «character quotes» category

Of ill-temper there are three kinds: irascibility, bitterness, sullenness. It belongs to the ill-tempered man to be unable to bear either small slights or defeats but to be given to retaliation and revenge, and easily moved to anger by any chance deed or word. Ill-temper is accompanied by excitability of character, instability, bitter speech, and liability to take offence at trifles and to feel these feelings quickly and on slight occasions.

Office of itself does much to equalize politicians. It by no means brings all characters to a level; but it does bring high characters down and low characters up towards a common standard.

Often I'll find clues to where the story might go by figuring out where the characters would rather not go.

Often my characters have some kind of idealism or grand belief that they're pursuing.

Oftentimes, in fact I think this is to my fault, I look at usually scripts as a whole. I should probably pay more attention to the character that I'm going to play and what they do.

Often times, if a character is pretty straightforward, he or she is not as interesting to portray.

Oftentimes what happens is that the writer understands one character, but they don't understand the other one, and the other one ends up not being written as well.

Often, as a young actress, you find yourself being the only girl in a room full of men... and one of the reasons why I like 'Grey's Anatomy' is because they have such strong female characters and the women really drive this show.

Oftentimes, our videos are collective ideas from the group, but others, they're personal ideas. I wanted to represent the video, 'Futuro', as humanity in its current state, with some characters who, unfortunately, make decisions for the rest of us. The flying bus on which they're traveling represents life, or the historic moment that we are going through. That's what I wanted to convey.

Oftentimes, when people don't respond to text messages or emails, I just start writing long, long in-depth essays and diatribes where characters start to appear and narrative threads begin.

Often, when I want to read something that is satisfying to me as theology, what I actually read is string theory, or something like that - popularizations, inevitably, of scientific cosmologies - because their description of the scale of things and the intrinsic, astonishing character of reality coincides very beautifully with the most ambitious theology. It is thinking at that scale, and it is thinking that is invested with meaning in a humanly evocative form. That's theology.

Of the influence of Mr. Mill's personal character on those who were his political associates, it is difficult to speak too warmly.

Of the many qualities I adore about Melissa McCarthy as a comedian and as a dramatic actor, the best is how fully she gives herself to every character she plays.

Of the modes of persuasion furnished by the spoken word there are three kinds. The first kind depends on the personal character ofthe speaker; the second on putting the audience into a certain frame of mind; the third on the proof, provided by the words of the speech itself.

Of the various executive abilities, no one excited more anxious concern than that of placing the interests of our fellow-citizens in the hands of honest men, with understanding sufficient for their stations. No duty is at the same time more difficult to fulfil. The knowledge of character possessed by a single individual is of necessity limited. To seek out the best through the whole Union, we must resort to the information which from the best of men, acting disinterestedly and with the purest motives, is sometimes incorrect.

Oh! if people were but acquainted with piety, they would not fear it so much, or give it so unattractive a character; 'tis the balm of life, and perhaps in the world it is believed to consist of bitterness, harshness, uncouthness; but, take my word for it, nothing is more gentle, more yielding, more loving than a pious soul.

Oh, I'm developing a beautiful character! It droops a bit under cold and frost, but it does grow fast when the sun shines. That's the way with everybody. I don't agree with the theory that adversity and sorrow and disappointment develop moral strength. The happy people are the ones who are bubbling over with kindliness.

Oh the folly of any mind that would explain God before obeying Him! That would map out the character of God instead of crying, Lord, what wouldst thou have me to do?

Oh, well, I can't tell you; it would be telling you the end. It's a one-character lip-syncing because in the early days, that's what my dad was doing.

Okay, this is Fran Lebowitz. She gave an interview once for the Paris Review about trying to write fiction and saying that fiction writers start talking about how characters are talking to them, and it's crazy, she's never had that. And I also thought, I'm never gonna be able to do this, because I didn't feel that for a really long time.

Old age and sickness bring out the essential characteristics of a man.

Old Mr. Rarx was not a pleasant man to look at, nor yet to talk to, or to be with, for no one could help seeing that he was a sordid and selfish character, and that he had warped further and further out of the straight with time.

Oliver Twist has asked for more!

Older women know who they are, and that makes them more beautiful than younger ones. I like to see a face with some character. I want to see lines. I want to see wrinkles.

O light! This the cry of all the characters of ancient drama brought face to face with their fate. This last resort was ours, too, and I knew it now. In the middle of winter I at last discovered that there was in me an invincible summer.

OLTL' has now allowed me to sing through the character as Blair. If you've followed my 20-some-odd-year career, you know I am a singer.

Oliver Stone will never be happy with the first take. He wants more than that. When you’re delivering your lines, he’ll stop you and tell you some kind of riddle about the character and you have to go away and figure that out. If you’re hoping for him to give you all the answers, then you’re in for a long day.

o matter how much research you do, or invention you do, whether it's a character from a novel, a completely invented character or someone who actually existed, it's a work of faction. By the very fact you only have an hour and a half or two hours to tell a story, you're telescoping events and it is, in the end, a work of imagination.

O natal star, thou producest twins of widely different character. [Lat., Geminos, horoscope, varo Producis genio.]

Once, a French journalist told me that all my films are the same. I said, 'Excuse me? I work hard to make them different.' What she meant was that in my films there is a character that faces insurmountable odds, and they overcome them. But I thought that might be true, but you need certain factors for drama, and you need to overcome them.

Once a character has gelled it's an unmistakable sensation, like an engine starting up within one's body. From then onwards one is driven by this other person, seeing things through their eyes.

Once, during an interview in front of my wife, I was asked, "Are you one of those actors who brings your character home? Do you stay in character?" I said, "No, not really. I don't do that," and she started laughing. I asked her why. She said, "Well, you might think you don't bring characters home, but you do." So, while I don't feel like a character is lingering, it probably is.

Once I hit 25, I realized I had to do more than just be an actor. I love acting, but there's something that makes it difficult to just be a man, a grownup. Not to take away from any actors, but I knew I wasn't going to be Tom Cruise. I knew I was a character actor, which is great and I'm proud of it. But I knew that I wanted to do more. I started producing and directing and writing and stuff for the theater, and then that grew out of hand and I sort of lost my control. I've always loved the process of filmmaking. Now I'm much more into producing docs, but I want to direct features.

Once I got over the fear of writing female characters, it actually came quite easily and I was really happy with it. I just thought about girls I knew really, really well and I'd just have conversations with them and tried to relay how they talk about certain things.

Once a novel gets going and I know it is viable, I don't then worry about plot or themes. These things will come in almost automatically because the characters are now pulling the story.

Once he became a series character, I made the conscious choice that he would never act like a series character, never wink at the reader, never pull his punches. Better for him, better for me.

Once I got into high school, any time I had to do a talk or a speech, I just loved being up in front of an audience, it was always a character. And then I discovered that an impersonation of the teacher was a really, really good way to get a laugh, and it would also get you good marks, because the teachers were always bored and loved to be the "teacher-parody." So that became my little trick at school, and I became known for doing that.

Once I have a hook I think has potential - enough to spin out more than a hundred thousand words, then I start turning my attention to characters. Who are these people? Why did this thing happen to them? But the hook always comes first.

Once I start putting all my little insecurities in my mind, I'm not actually acting. Then it's about me - and it should never be about me. It should be about the character.

Once in an age God sends to some of us a friend who loves in us, not a false-imagining, an unreal character, but looking through the rubbish of our imperfections, loves in us the divine ideal of our nature,--loves, not the man that we are, but the angel that we may be.

Once I start work on a project, I don’t stop and I don’t slow down unless I absolutely have to. If I don’t write every day, the characters begin to stale off in my mind – they begin to seem like characters instead of real people. The tale’s narrative cutting edge starts to rust and I begin to lose my hold on the story’s plot and pace. Worst of all, the excitement of spinning something new begins to fade. The work starts to feel like work, and for most writers that is the smooch of death.

Once I've got the first draft down on paper then I do five or six more drafts, the last two of which will be polishing drafts. The ones in between will flesh out the characters and maybe I'll check my research.

Once the audience has to use themselves to cross the distance to the character, that's what's really exciting. That's when it starts to be a discussion between the art form and the audience, and that's fun stuff.

Once the curtain is raised, the actor is ceases to belong to himself. He belongs to his character, to his author, to his public. He must do the impossible to identify himself with the first, not to betray the second, and not to disappoint the third.

Once the decision has been made, close your ear even to the best counter argument: sign of a strong character. Thus an occasional will to stupidity.

Once we got over the origin story, we could really delve deeper into their lives and characters and angst. So this movie actually has more heart, more humor.

Once upon a time there was a widow who had two daughters. The elder was so much like her, both in looks and character, that whoever saw the daughter saw the mother.

Once we start seeing video games that have more memorable characters, you'll see better movie adaptations.

Once you embody the language, the character comes really naturally, especially when you put the costume on.

Once you land on who you think the character is and what his conflicts are, you have to let that lead you. You have to throw all that other stuff away and not be worried about this epic responsibility, or it will just crush and paralyze you.