Best 14098 quotes in «character quotes» category

But actually making pictures to look like my pictures, I've done it for so long, I'm kind of used to it now. So at the beginning of the process, designing and storyboarding everything, I sort of did all that. And then designed the characters, and doing the textures for the characters, and the texture maps to cover all the animated characters and the sets, I did those, because that's where my sort of coloring and textures get imprinted on the film.

But a man's character is his fate... and in the end there isn't any way to disguise the nature of the knocks by acoustical work on the door or gloving the knuckles.

... But all the feelings that evoke in us the joy or the misfortune of a real person are only produced in us through the intermediary of an image of that joy or that misfortune; the ingeniousness of the first novelist was in understanding that, in the apparatus of our emotions, since the image is the only essential element, the simplification which consists of purely and simply suppressing the factual characters is a definitive improvement.

But as far as the concept of HAL, who HAL was, his character - I had no role in creating him.

But at the best of times she feels like a character in a Muriel Spark novel — independent, bookish, sharp-minded, secretly romantic.

But at the same time, the commonplace statement about them is true: every character is the hero of his own story. Each has a justification for his actions that is convincing to him. It's fun to give these people voices.

But being able to talk to so many patients from so many walks of life gives a tremendous window into people's lives. This is not to say I want to write about individual patients, but I think that after listening to the concerns of people who are so different from me, I can more realistically portray characters who are so different from me.

But even with a character like Cary who is relatively outlandish, at the end of the movie he's in a place where I wouldn't have expected him to be - taking on the responsibility of a woman who is pregnant and who used to be his best friend's wife.

But boys and girls, pale from the imagined love Of solitary beds, knew what they were, That passion could bring character enough And pressed at midnighht in some public place Live lips upon a plummet-measured face.

But for me, the challenge is how you turn a character into behavior. Once the director says 'action', you just try to live between those two worlds.

But I always need to identify with a character to write about him or her - and by "identify," I mean see the world through that person's eyes and have a strong sense of the inner logic of their acts and decisions, wacky or wrongheaded though they might be. In that sense, I think there's some of me in all of them.

But Germany will always suffer, I fear, from the intensely dramatic character of the crimes of the Third Reich.

But, how do you know if an ending is truly good for the characters unless you've traveled with them through every page?

But if capitalism had built up science as a productive force, the very character of the new mode of production was serving to make capitalism itself unnecessary.

But if they are well-founded and just, they can be no less than the high requirements of heaven, addressed by the voice of God to the reason and understanding of man, concerning things deeply affecting his relations to his sovereign, and essential to the formation of his character and of course to his destiny, both for this life and for the life.

But I don't think that it's a form of family that I would be comfortable in. I've found a way to this character and this family, but I still believe that a marriage is between two people and not seven or three.

...But I don't think I'm the only person who is tired of books and movies full of paper-doll characters you don't care about, who have no self-respect and no respect for anybody or any institution....And I don't want to sound preachy or Victorian, but I'm tired of amorality in fiction and in real life. Immorality is a fascinating human dilemma that creates suspense for the readers and tension for the characters, but where is the tension in an amoral situation? When people have no personal code, nothing is threatening and nothing is meaningful.

But if you don't understand that story is character and not just idea, you will not be able to breathe life into even the most intriguing flash of inspiration.

But I do believe that in all my shows, I really enjoy the quirky, the eccentric characters, the ones you don't meet every day.

But if one doesn't have a character like Abraham Lincoln or Joan of Arc, a diet simply disintegrates into eating exactly what you want to eat, but with a bad conscience.

But if you, as an independent filmmaker or a "serious" filmmaker, think you put more love into your characters than the Russo Brothers do Captain America, or Joss Whedon does the Hulk, or I do a talking raccoon, you are simply mistaken.

But, in North Korea, it's just the opposite. There's one story. It's written by the Kim regime. And 23 million people are conscripted to be secondary characters. There, as a youth, your aptitude towards certain jobs is measured, and the rest of your life is dictated, whether you'll be a fisherman or a farmer or an opera singer.

But I guess I like playing flawed guys 'cause it gives a place for the characters to go.

But I learned that there's a certain character that can be built from embarrassing yourself endlessly. If you can sit happy with embarrassment, there's not much else that can really get to ya.

But I'm attracted to roles where I get to really go in and explore a character.

But in film you always watch situations or stories that you really have no relation to. A lot of times just because there's no personal connection doesn't mean you can't connect with the film or the characters in the film.

But I think it is hardly an argument against a man's general strength of character, that he should be apt to be mastered by love. A fine constitution doesn't insure one against small-pox or any other of those inevitable diseases. A man may be very firm in other matters, and yet be under a sort of witchery from a woman.

But, it takes some of the characters to some very dark places, and they start doing things that they might not do, if they were in regular circumstances. Their true humanity comes out - the good and the bad. Something else that was fun was that every director would come in so excited to go with their own creativity.

But it was this tough little character part that I was playing, a very funny little guy that I invented over a weekend, because I realized I was not contributing to the humor of this thing. And I had to do something.

But I used to have a bit of a gambling problem. And that would have been the answer to my prayers. It got worse when I started playing this character, too.

But I would encourage anyone who has a crush on my character to watch it again and examine how selfish he is.

But keep characters in propinquity long enough and a story will always develop a plot.

But it's hard for me to pinpoint where all my characters and dialogue come from - imagination or real life. My memoir, of course, was all about my past, and many of the short stories cleave very closely to my life, but the more stories I wrote in the collection, the more that seemed to be invented, but who knows... I think I'm writing about a young woman with acne who shoplifts, but I'm really writing about myself.

But mostly they were lies I told; it wasn't my fault, I couldn't remember, because it was as though I'd been to one of those supernatural castles visited by characters in legends: once away, you do not remember, all that is left is the ghostly echo of haunting wonder.

But Medicine is a demonstrative Science, and all its processes should be proved by established principles, and be based on positive inductions. That the proceedings of Medicine are not of this character, in to be attributed to the manner of its cultivation, and not to the nature of the Science itself.

But my main thing that I would love to see as a fan of 'Glee,' like I said, is to really get into the character and who they are and what they do outside of school. I think that that's interesting. And then of course the themed stuff and the album episodes are all really cool too.

But my relief that David Auburn's Proof is less about its ballyhooed higher mathematics than the fragility of life and love was matched by my delight in his fine and tender play. (...) Proof surprises us with its aliveness and intelligent modesty, and we have not met these characters before.

But people do the same thing with the Bible. They memorize all the fictional characters, the parameters and the rules of the game and think it's important, but I can't get excited about that myself.

But really, for the most part - doing a prequel is great because you do have room to kind of free this character and how they got to where they are instead of being a slave to exactly what the previous actor did.

But rules cannot substitute for character.

But remember this: in the final analysis, you can believe in your dream, you can be taught, supported, motivated, and loved by others, but ultimately, your success depends on you. You must take responsibility for your body, your mind, and for your character.

But so long as we can keep this crew of fantastic people together and can continue to make real breakthrough films in this category, as well as characters that stay true to what we've done in this first film, I'd be more than happy to be a part of it.

But some characters in books are really real--Jane Austen's are; and I know those five Bennets at the opening of Pride and Prejudice, simply waiting to raven the young men at Netherfield Park, are not giving one thought to the real facts of marriage.

But Shakespeare knows what the sphinx thinks, if anybody does. His genius is penetrative as cold midwinter entering every room, and making warmth shiver in ague fits. I think Shakespeare never errs in his logical sequence in character. He surprises us, seems unnatural to us, but because we have been superficial observers; while genius will disclose those truths to which we are blind.

But some actors I have met possess an intelligence that I can only dream of. It's about character, it's about behavior. They understand things about people that I simply don't see.

But since I have a poet's weakness for symbols, I am using this character also as a symbol; he is the long-delayed but always expected something that we live for.

But the mere circumstance of complexion cannot deprive them of the character of men.

But the person who scored well on an SAT will not necessarily be the best doctor or the best lawyer or the best businessman. These tests do not measure character, leadership, creativity, perseverance.

But the novels of women were not affected only by the necessarily narrow range of the writer's experience. They showed, at least in the nineteenth century, another characteristic which may be traced to the writer's sex. In Middlemarch and in Jane Eyre we are conscious not merely of the writer's character, as we are conscious of the character of Charles Dickens, but we are conscious of a woman's presence of someone resenting the treatment of her sex and pleading for its rights.

But the human character, however it may be exalted or depressed by a temporary enthusiasm, will return by degrees to its proper and natural level, and will resume those passions that seem the most adapted to its present condition.