Best 14098 quotes in «character quotes» category

When one's character begins to fall under suspicion and disfavor, how swift, then, is the work of disintegration and destruction.

When one of my characters becomes aware of a magical element, it might be because the world is wider than we assume it to be, but it might also be a reminder to pay attention to what is here already, hidden only because it's been forgotten.

When one walks, one is brought into touch first of all with the essential relations between one's physical powers and the character of the country; one is compelled to see it as its natives do. Then every man one meets is an individual.

When one speaks of humanity, the idea is fundamental that this is something which separates and distinguishes man from nature. In reality, however, there is no such separation: "natural" qualities and those called truly "human" are inseparably grown together. Man, in his highest and noblest capacities, is wholly nature and embodies its uncanny dual character. Those of his abilities which are terrifying and considered inhuman may even be the fertile soil out of which alone all humanity can grow in impulse, deed, and work.

When people do love our show [Heroes] and they put on the costumes, they know everything about our characters. And it is overwhelming at the same time. But you know, it's something that we're grateful and that's the reason why our show's continued to succeed.

When people embrace character, there's latzie. It's the stuffing of a scene that's not written. It's not in the stage direction and it's not in the words. When people embrace character, it informs their living, breathing moments in a scene so well.

When people call me a photographer, I always feel like something of a charlatan—at least in Japanese. The word shashin, for photograph, combines the characters sha, meaning to reflect or copy, and shin, meaning truth, hence the photographer seems to entertain grand delusions of portraying truth.

When people embrace character, it informs their living, breathing moments in a scene so well.

When people laugh and applaud as characters are killing each other, and you never see the body that's lying there, or you never see the family that suffers, then it turns into a cool thing to do, like a videogame. Then, when you watch the news and see that 15 soldiers were killed, you start to see them as just numbers, material, information, images. We lose the real weight and real value of one simple human life.

When people lose faith in the natural goodness of the human character, the lack of trust in spiritual goodness, that is one reason why corruption has become so widespread today.

When people come in the door and they have something, discovering and exploring the character is a real joy.

When people were conscious of a God whose character was moral law, when their consciences were informed by a sense of rightness, their watchmen would shout halt when they trespassed the law. Now their watchmen are silent. They serve no king and protect no kingdom.

When preparing for the fight choreography, the first thing I have to think about is what fits in the script. Whatever goes along with the story line and the character's personality; they have to be matched.

When people say 'You're so beautiful' it makes me want to kill myself! As an actress you want to be seen for what you do, for the characters you can play, otherwise I'd be a model

When Peter Jackson did The Lord of the Rings trilogy with Fellowship of the Ring, not everyone had read Tolkien, and yet somehow with that scope and the spectacle of that fantasy, people were willing to give it a shot. And when they watched the first one, the characters drew them in and they started understanding the story. And then, all of a sudden, they were The Lord of the Rings fans, even if they never read Tolkien.

When Rolling Stone handed me this crazy assignment to be in the studio with James Brown, they had the misapprehension that I'd written for them already just because I claimed my character had.

When sex is necessary for the plot of a book, or a character development, then I don't shy away from it. Why should I?

When somebody is talking to you about something terrible on set with lines, and you believe what he says, sometimes it gives a strange vibe, because you wonder when that person is talking if he's talking about something that really happened to him and he's using the character.

when someone speaks he looks at a mouth, not eyes and their colors, which, it seems to him, will always alter depending on the light of a room, the minute of the day. Mouths reveal insecurity or smugness or any other point on the spectrum of character. For him they are the most intricate aspect of faces. He's never sure what an eye reveals. but he can read how mouths darken into callousness, suggest tenderness. One can often misjudge an eye from its reaction to a simple beam of sunlight.

When something really extreme happens, you have to find a way to embrace that and include it in how you think about the character. Sometimes it's not easy.

When something arrives, you have no idea what's in it, which is good. And then, it's is the story leaps off the page at you and how your character functions within it. There could be just one scene and if it's wonderful, it doesn't matter how much you're working on it because you just want to be in it. It's really about what your character's day to day world looks like, and if you feel like that's something that's complete, and that you'd like to inhabit for awhile. You'll know by a couple of scenes in. If the character grabs you, you run with it.

When the Congress first met, Mr. Cushing made a motion that it should be opened with prayer . . . Mr. Samuel Adams arose and said he was no bigot, and could hear a prayer from a gentleman of piety and virtue, who was at the same time a friend to his country. He . . . had heard that Mr. Duche . . . deserved that character and therefore he moved that Mr. Duche . . . might be desired to read prayers to the Congress . . . . After (he read several prayers), Mr. Duche, unexpected to everybody, struck out into an extemporary prayer, which filled the bosom of every man present.

When that character and the X-Force appeared, they took the comic world by storm. You have to look at those numbers. And you see that that isn't Rob Liefeld's only creation. There's all these other things, like Cable and Domino. There's so many things that actually could be fascinating onscreen and unlike anything you've ever seen before onscreen. So I think Fox is in a really nice position where they've got something that feels as wide and different as the Marvel Universe.

When the entire moral energy of an individual goes into the cultivation of personal integrity, we all know how unlovely the result may become; the character is upright, of course, but too coated over with the result of its own endeavor to be attractive.

When the characters are really alive before their author, the latter does nothing but follow them in their action, in their words, in the situations which they suggest to him.

When the first emperor wanted to unify the country, one of the major policies was to create one system of written signs. By force, brutal force, he eliminated all the other scripts. One script became the official script. All the others were banned. And those who used other scripts were punished severely. And then the meanings of all the characters, over the centuries, had to be kept uniform as a part of the political apparatus. So from the very beginning the written word was a powerful political tool.

When the functionality of a product or service overshoots what customers can use, it changes the way companies have to compete. When the product isn't yet good enough, the way you compete is by making better products. In order to make better products, the architecture of the product has to be interdependent and proprietary in character.

When the mind once allows a doubt to gain entrance, the value of deeds performed grow less, their character changes, we forget the past and dread the future.

When the OutKast sound changed and I started producing my own records, I would mirror what I thought that character doing that music would look like. As the sound got a little wilder, freakier and funkier, so did the clothes. Then when the sound got more sophisticated, the clothes changed again.

When the people you've already worked with are very talented and you know what they can do, if you think of a character that happens to be perfect for them, then you make it happen.

When the polar ice caps melt, my recording studio will rise up like an ark, and I'll float off into the drowned world like a character from a J.G. Ballard novel.

When the music and the characters are flawlessly synchronized, the opera develops an emotional force that movies and plays cannot match.

When there is a strong woman character in a story - that always grabs me

When there's characters out there that don't have humor, I don't find them as believable, because we all have humor, no matter what level it is, we all use it every day, no matter what situation we're in, we'll try and have a bit of a laugh even if it goes wrong.

When the Spirit fills us, we are transformed, and by beholding God we become mirrors. You can always tell when someone has been beholding the glory of the Lord, because your inner spirit senses that he mirrors the Lord’s own character. Beware of anything that would spot or tarnish that mirror in you. It is almost always something good that will stain it- something good, but not what is best.

When the Seinfeld show said it was going to be a show about nothing, everybody said it couldn't - wouldn't work. It did. Thor is about something, about that character finding his destiny, but it's not doing what was expected... and yet it's doing very well.

When the writing is good and it suits your character, you don't have to memorize anything, because it just makes sense. You read it and you go, "Oh, that makes sense." And it's easy.

When they do bring on new people, it's good for the show. It's like getting a new toy. The writers enjoy it because it's a whole new character that they can write for, one that they aren't used to writing for. They can try different things.

When they say [Donald Trump] is not "presidential": I asked myself what does it mean to be "presidential"? You wear a suit; you talk to the American people like you possess the character and the dignity of one who seeks the highest office in the land, and behind the door you're the worst criminal on the planet, plotting the overthrow of nations and governments, and regime change, and sending drones to kill people you don't like? That's presidential.

When the venture has been made of dealing with historical events and characters, it always seems fair towards the reader to avow what liberties have been taken, and how much of the sketch is founded on history.

When wealth is lost, nothing is lost; when health is lost, something is lost; when character is lost, all is lost.

When trying a case [the famous judge] L. Cassius never failed to inquire "Who gained by it?" Man's character is such that no one undertakes crimes without hope of gain.

When two characters or two actresses are together for a while there is bound to be chemistry developing.

When values, thoughts, feelings, and actions are in alignment, a person becomes focused and character is strengthened.

When we approached the project, the very first thing we did was take each character and say, "Okay, where would this character be?" We didn't want them to be caricatures of themselves. We wanted them to live and breathe, and grow with the audience and with us.

When we go to the movies, we identify with the characters we see. That's why we go to the movies; we have a voyeuristic experience; we have an out of the body experience. The screen is more real than our thoughts are at the moment we are looking at the film and we place ourselves in the place of the people on the screen, and when they behave nobly, it makes us feel noble, when they are sad and when they have lost love, we feel sad; we can identify with that.

When we first sat down and talked about how much of the show we were going to do based on the movie, there are certainly things you can see right away, but we wanted to make sure that the audience who maybe never saw the movie or has maybe never seen any of the Marvel characters before - and I know there's three of them left on the planet - could have someone that could be their eyes and take them in.

When we make films - even 2D films - you're always trying to create this illusion of 3D, anyway. You're trying to create a believable world with characters walking, in and out of the perspective, to create the illusion that there's a world. The desire and drive to create this illusion of three-dimensional space is something that is true about every kind of film because you want the audience to really be experiencing it, first hand. It's a natural extension of the storytelling and the process of filmmaking.

When we read, even if the characters are tragic or sad or disturbing, these are our brothers and sisters in the human family.

When we hold a photo negative up to the light all objects are reversed. Black is white, white is black. Moreover, the character lines of any face in the picture are not clear. Once placed into the developing solution, what photographers call "the latent image" is revealed in the print-darkness is turned to light; and, lo, we have a beautiful picture.