Best 14098 quotes in «character quotes» category

Money is not good or evil. It has no morals or intentions on its own. Money reflects the character of the user.

Morality is character and conduct such as is required by the circle or community in which the man's life happens to be placed. It shows how much good men require of us.

Moral character is assessed not by what a man knows but by what he loves

More knowledge may be gained of a man's real character by a short conversation with one of his servants than from a formal and studied narrative, begun with his pedigree and ended with his funeral.

More than any other contemporary British playwright, Tom Stoppard populates his plays -- from Rosencrantz and Guildenstern Are Dead to The Invention of Love (his portrait of the poet and scholar A. E. Housman) -- with characters from life and literature. But one cannot always tell the difference between those who are real and those who are imaginary.

More than all, and above all, [George] Washington was master of himself. If there be one quality more than another in his character which may exercise a useful control over the men of the present hour, it is the total disregard of self when in the most elevated positions for influence and example.

Mos Def is one of the most creative, intelligent human beings I've had the opportunity to work with. He is fun. The entire time, he would go in and out of different characters, just for the fun of it. Awesome energy.

Most bad books get that way because their authors are engaged in trying to justify themselves. If a vain author is an alcoholic, then the most sympathetically portrayed character in his book will be an alcoholic. This sort of thing is very boring for outsiders.

Most comic book creators consider about making characters that people recognize and that can carry across many books. Something that becomes a trademark. For me I have always just followed IDEAS, and that takes me into a whole range of things.

Most artists like to think of themselves as rugged individualists, as independent characters.

Most characters are composed of snippets here and there of people I've known, and all rolled into the character I've created. They do become like their own people.

Most famous artists are created by their work and the idea of them as a character, and if they're smart and ambitious, they reinforce that character because they want to win. They want their views to prevail.

Most businesses change in character and quality over the years, sometimes for the better, perhaps more often for the worse. The investor need not watch his companies' performance like a hawk; but he should give it a good, hard look from time to time.

Most games follow a real railroad plot, no matter what you want, you're following their storyline to its unavoidable conclusion. I'd like to write a game where your character can follow any number of possible story arcs and sub-plots.

Mostly the natural landscapes work as a sounding board for my characters, so they can understand themselves, and it acts as a mirror in which we readers see ourselves. The natural world is the place into which all my characters have to situate themselves in order to be who they really are, and that makes my rural fiction feel different from a lot of urban fiction.

Most gothics are overplotted novels whose success or failure hinges on the author's ability to make you believe in the characters and partake of the mood.

Most great filmmakers are good at place. Like how people say, like, "The city itself is a character in the movie," you know? I'm so interior. I always forget there's such a thing as an exterior wide shot, where you can see where someone is. As opposed to just: how can we show what this person is thinking, in an abstract way that is felt?

Most importantly, nothing has happened to change my conviction that freedom and the love of liberty remain the essential defining attributes of our national character as a people.

Most men have no purpose but to exist, Abraham; to pass quietly through history as minor characters upon a stage they cannot even see

Most good fiction also has a character the writer seems to know more deeply than anyone can actually be known in life, but a few unusual writers can make something great without that.

Mostly, I'm drawn to great characters and great worlds that use weird things for their language - whether it's dance, whether it's pop music with Justin Bieber, or whether it's magic.

Most mainstream male fiction is littered with heroines, and female characters are basically so great, you want to fall in love with them.

Most horror films fail to scare me. I think 'The Ring' plays more as a psychological thriller. It's smarter, there's more character development and some of the themes explored go a little deeper.

Most men like in women what is most opposite their own characters.

Most of my characters are romantic rather than sexual. I think that's an essential difference in my pictures. I think they are more accurate in portraying young people as romantic - as wanting a relationship, an understanding with a member of the opposite sex more than just physical sex.

Most movies shot in Italian don't even bother to record the sound. In fact, sometimes when Fellini works, he doesn't even know what the dialogue is going to be, and he simply has his characters count from 1 to 10, knowing he will loop in their dialogue later.

Most of my stories are ideas in action. In other words, I get a concept, and I let it run away. I find a character to act out the idea. And then the story takes care of itself.

Most of the characters I play are heavily engulfed in some sort of fantasy world.

Most movies, once the action starts there's no more characters. You say a couple of dumb lines and then there's just explosions until the end.

Most obviously it [Doctor Strange] will introduce a new character who will be in play in the universe, but once you have gotten an audience to buy into a new concept then it's fun to keep, to play-off, or spin-off that concept down the line.

Most of my writing is an effort, one way or another, to figure something out about myself, and often when I read dialogue between my characters I recognize it as a discussion between two aspects of my own personality, aspects which are too often at odds.

Most of the big breakthrough technologies/companies seem crazy at first: PCs, the internet, Bitcoin, Airbnb, Uber, 140 characters.. It has to be a radical product. It has to be something where, when people look at it, at first they say, ‘I don’t get it, I don’t understand it. I think it’s too weird, I think it’s too unusual.’

Most of our occupations are low comedy.... We must play our part duly, but as the part of a borrowed character. Of the mask and appearance we must not make a real essence, nor of what is foreign what is our very own.

Most of the time I live with my pain. I have pain but I won't show it around. I think that's the nobility of the character. There's something noble in not spewing on people all the time about your problems. I'm the light guy, so I identified.

Most of the time when you see a movie, the best character in the movie is not "the guy," it's the guy next to the guy.

Most of the soap operas always use the Christmas special to kill huge quantities of their characters. So they have trams coming off their rails, or cars slamming into each other or burning buildings. It's a general clean-out.

Most of the methods of training the conscious side of the writer-the craftsman and the critic in him- are actually hostile to the good of the artist's side; and the converse of this proposition is likewise true. But it is possible to train both sides of the character to work in harmony, and the first step in that education is to consider that you must teach yourself not as though you were one person, but two.

Most of the prosecutors I know are good people who are committed to protecting us from those who would prey on us. But these days, I sometimes run into prosecutors who just don't seem to have the character we used to have 20-30 years ago. People need to understand that prosecutors are lawyers, and like my grandmama once told me, a law degree is a license to lie.

Most of the time, I get auditions for deaf characters where the scene has them communicating in really convoluted ways, like reading lips from across the room when the other persons back is turned or having other people parrot what they say.

Most of the time when I receive a script, it says something like 'Rosenberg is the fat, slovenly Mayor, who doesn't want the kids to use the Skateboard Park,' or 'Stein is a pompous, rotund attorney, imposing to all.' It would be so freeing to get a script where my character is simply described as 'A Man.'

Most of the writers in TV are from L.A. or New York, and those are places where people are cynical and snarky. And they fly from L.A. to New York in an airplane over this vast, expansive land where people aren't snarky; they're a lot more like the Parks and Recreation characters.

Most of this film, however, is about interpretation - are these people terrorists or freedom fighters? Are they good or bad? Is cutting timber good or bad? And I don't feel like the answers to those questions are simple, so we don't try to answer them for the audience. I wanted to elicit the strongest - and most heartfelt - arguments from the characters in the film and let those arguments bang up against the strongest arguments of their opponents.

Most people are middle class. Most people do wish their lives were better than they are. And I think by making my main characters ordinary, average guys, it helps readers identify with their problems. It also helps ground the supernatural events that follow in a recognizable reality and perhaps gives some of my wilder scenarios a little verisimilitude.

Most people assume that a muse is a creature of perfect beauty, poise and grace. Like the creatures from Greek mythology. They're wrong. In fact, there should be a marked absence of perfection in a muse--a gaping hole between what she is and what she might be. The ideal muse is a woman whose rough edges and contradictions drive you to fill in the blanks of her character. She is the irritant to your creativity. A remarkable possibility, waiting to be formed.

Most people don't really understand what it takes to get a film made, and the struggles. I think anyone who makes a film goes through their own set of struggles. People go to extraordinary lengths to get films made. I hope it's of interest to people. One would think that it would be very easy, with an iconic character like James Bond, to keep making the films, but it hasn't been. But, it sure has been entertaining and rewarding.

Most people define greatness through wealth and popularity and position in the corner office. But what I call everyday greatness comes from character and contribution.

Most people have no idea how much goes into designing a typeface. Twenty-six letters in the alphabet, usually with two versions of each, upper and lower case. Punctuation and alternate characters and numbers - let's not forget numbers - can add another 40 or so.

Most people who love movies and kind of understand the process realize that if you do a character like Gollum or Jar Jar or any major digital character, that costs twice as much as having Tom Cruise in a movie.

Most people outside of America won't get it. It's the Easter bunny. It's another lie and I don't understand why we had to invent this character.

Most people stiffen with self-consciousness when they pose for a photograph. Lighting and fine camera equipment are useless if the photographer cannot make them drop the mask, at least for a moment, so he can capture on his film their real, undistorted personality and character.