Best 14098 quotes in «character quotes» category

The British tradition, basically, is to go to the character. And the Hollywood tradition, shall we say, is basically to take the character to the performer.

The Buddha also counseled the monks and nuns to avoid wasting any precious time by engaging in idle conversation, oversleeping, pursuing fame and recognition, chasing after desires, spending time with people of poor character, and being satisfied with only a shallow understanding of the teaching.

The brilliance of Max Brooks is that he always quotes authorities at the back of his books that never existed. Like a Russian professor he made up that validates a story or character.

The bureaucratic manager, the consuming aesthete, the therapist, the protester and their numerous kindred occupy almost all the available culturally recognizable roles, the notions of the expertise of the few and of the moral agency of everyone are the presuppositions of the dramas which those characters enact. To cry out that the emperor had no clothes on was at least to pick on one man only to the amusement of everyone else; to declare that almost everyone is dressed in rags is much less likely to be popular.

The buried code of many American films has become: If I kill you, I have won and you have lost. The instinctive ethical code of traditional Hollywood, the code by which characters like James Stewart, John Wayne and Henry Fonda lived, has been lost.

The business of a novelist is, in my opinion, to create characters first and foremost, and then to set them in the snarl of the human currents of his time, so that there results an accurate permanent record of a phase of history.

The business of the dramatist is to keep himself out of sight, and to let nothing appear but his characters. As soon as he attracts notice to his personal feelings, the illusion is broken.

The campaign of character assassination waged [against President Clinton] by the right was a singular, unprecedented effort. Nothing like it exists on the left. What I object to on the right is the obsessive hatred, the bigotry, and the personal savaging of their opponents, all achieved through an echo chamber of talk radio, the Internet and Rupert Murdoch's media outlets. That kind of well-funded disinformation campaign has no analog on the left.

The Canteen Boy, the reason you feel bad for him and you can laugh is because he, and I guess a lot of my characters, they don't notice they're getting made fun of. So they'll say something back that's not that great a quip, but in their mind they won the argument.

The capacity to create [visual] effects in the computer has made the job easier, but it has also introduced the complexity that you can with a few more keystrokes generate such a busy canvas that the eye doesn't know where to go. You lose human scale on an event and you're just wowed by the kinetics and the visualization. But, often in those cases I feel you lose touch with the human characters and what it is that they would feel and how they might feel, and that's still the most important part.

The car is a character in the piece - I've never liked the car, I submitted to it's objectionable popularity.

The cat is a character of being, the dog, a character of doing.

The casting director on the movie made me aware of her. She told me what to watch Starter For Ten, which I did and thought she was great in. She was just so charming and beautiful. But I felt she could probably look plain if we tried. And when I subsequently met with her, I was so charmed by her vulnerability and sweetness. Those were two qualities that were the most important for that character.

The casting of any film is around 60% of the film, but it's also about the right casting insight. It's a bit like a house of cards, everyone has to match up in a certain way so the whole structure is grounded. So that's essential, and yes, it's about finding the right people and the right constellation around the lead character.

The centre of the tragedy, therefore, may be said with equal truth to lie in action issuing from character, or in character issuing in action.

The cemetery has ... an inscription: 'Though I walk through the Valley of the Shadow of Death I will Fear No Evil, For Thou Art With Me.' Yes, it does feel deceptively safer with two; but Thou is a slippery character. Every Thou I've known has had a way of going missing.

The certainty of our salvation rests on the character of God.

The challenge is creating a character that's rich and interesting to warrant following for a number of years.

The challenge CEOs will face three to five years from now is the same one that they face today. That is engagement. It's hard to keep people engaged in what they are doing. As this generation grows up around social media like Twitter where things are 140 characters, how do you keep them engaged all hours every day at work? How do you keep them focused on the big goals you have?

The character and history of each child may be a new and poetic experience to the parent, if he will let it.

The character I play in Star Quality says acting is the be-all and end-all of her life. I'm not like that. I do enjoy working and I give every job my best shot but I never feel, What on Earth am I going to do now?

The character is a piece of fiction. You are yourself, however, and that makes you interesting, because you're alive and you're a human being.

The character of a man is known from his conversations.

The character of a nurse is just as important as the knowledge he/she possesses.

The character of covetousness, is what a man generally acquires more through some niggardliness or ill grace in little and inconsiderable things, than in expenses of any consequence.

The character of false wit is that of appearing to depend only upon reason.

The character of Jesus has not only been the highest pattern of virtue, but the strongest incentive in its practice, and has exerted so deep an influence, that it may be truly said that the simple record of three years of active life has done more to regenerate and to soften mankind than all the disquisitions of philosophers and all the exhortations of moralists.

The character of Rocky was built on the idea that he was chosen to do something. That's why the first image in Rocky is the picture of Christ.

The character of the architectural forms and spaces which all people habitually encounter are powerful agencies in determining the nature of their thoughts, their emotions and their actions, however unconscious of this they may be.

The character of the faith that allows us to be transformed by suffering and darkness is not doubt-free certainty; rather, it is tenacious obedience.

The characters emerge from my rather twisted mind. That's another enjoyable part of the job making stuff up.

The characters in the four-lettered word FACT consist of seventy-five percent ACT, so it is always sensible to see the character of a person solely by his ACT or deeds than his words.

The characters I write about are very internal.

The characters [of The Tempest] have always been favorites of mine. It is one of his meditations on art - what it does.

The character structure of modern man, who reproduces a six-thousand-year-old patriarchal authoritarian culture is typified by characterological armoring against his inner nature and against the social misery which surrounds him. This characterolgical armoring of the character is the basis of isolation, indigence, craving for authority, fear of responsibility, mystic longing, sexual misery, and neurotically impotent rebelliousness.

The Character which a youth acquires in the early part of his Life is of great importance towards his future prosperity-one false step may prove irretrievable to his future usefulness.

The character, as written on the page, is just a blueprint for a human being.

The character of a generation is moulded by personal character.

The character of a whole society is the cumulative result of the countless small actions, day in and day out, of millions of persons. Who we are as a society, is the synergistic accumulation of who we are as individuals... Small changes that seem insignificant in isolation can be great contributions when they are simultaneously undertaken by many others.

The character of God is today, and always will be, exactly what it was in Bible times.

The character of human life, like the character of the human condition, like the character of all life, is "ambiguity": the inseparable mixture of good and evil, the true and false, the creative and destructive forces-both individual and social.

The character of the crowds is made up of mimicry and hostility.

The characters are so flat and the dialogue so dull you expect it to be one of those movies whose existence is justified by a big final twist. But it's three days after the screening, and still no twist. Maybe it's coming in the mail?

The characters have desperation and it doesn't work out for everyone. Maybe it's not fair because I'm responding to the adaptations that smooth out the edges.

The characters I didn't have actors in mind for, that was the scary moment. Because in any production, until you find the right person, you're constantly judging your writing or what it is that isn't working here or not clicking here, because you have amazing actors coming to read for it, and if something's not clicking, it can't be them because they're amazing actors. You're sort of completely doubting yourself.

...the characters in my books all resemble each other. They live, with minor variations, the same moments, the same perils, and when I speak of them, my language, which is inspired by them, repeats the same poems in the same tone.

The characters in my novels are my own unrealised possibilities. That is why I am equally fond of them all and equally horrified by them. Each one has crossed a border that I myself have circumvented.

The characters in my novels, from the very first one, are always on some quixotic effort of attempting to control something that is uncontrollable - some element of the world that is essentially random and out of control.

The characters within a book were, from a certain point of view, identical on some fundamental level ‒ there weren't any images of them, no physical tangibility whatsoever. They were pictures in the reader's head, constructs of imagination and ideas, given shape by the writer's work and skill and the reader's imagination. Parents, of a sort.

The characters you refer to as predatory and unsavory are useful. They're the ones who make a novel into a thriller. They're active, and most of the common virtues, the signs of a good person, are not.