Best 14098 quotes in «character quotes» category

If there's any sort of superpower we desperately need right now, it's this transcendental force that reminds us of union and connection. I think that superhero stories come from somewhere. We make these aspirational images, to remind us that we have this capacity in ourselves already. I think that electricity can run through disconnected wires. Superheroes, every single one of them, come from the world of imagination and they're played by humans, they're written by humans, and it's in the belief that we invest in these characters that they come to life.

If there's ever a character who can only serve one metaphor, I'll probably tell one story with that character and be done with it.

If there's a great story and great characters, then I can love a film in any genre, though crime thrillers and sci-fi have a particular soft spot in my heart.

If there was the same propensity in mankind for investigating the motives, as there is for censuring the conduct, of public characters, it would be found that the censure so freely bestowed is oftentimes unmerited and uncharitable.

If these laws [in the Bible] belonged to any other ancient culture we would approach them very differently. We need not bother to reject the code of Hammurabi. Presumably it is because Moses is still felt to make some claim on us that this project of discrediting his law is persisted in with such energy. The unscholarly character of the project may derive from the supposed familiarity of the subject.

If the show encourages an audience to ask the question, "Is this character's emotional response to this situation valid?," then that's a really good question to ask.

If the Savior has not sanctified you, renewed you, given you a hatred of sin and a love of holiness, He has nothing in you of a saving character.

If the single man plant himself indomitably on his instincts, and there abide, the huge world will come round to him.

If the threat is jihadism - and it is - and the threat is the destruction of Syria so that all of these refugees are swamping into Europe and changing the whole character and politics of Europe, this is the time to unite to find a way out.

If the would-be writer studies people in their everyday lives and discovers how to make his characters in their quieter moods interesting to his readers, he will have learned far more than he can ever learn from the constant presentation of crises.

If thinking is like perceiving, it must be either a process in which the soul is acted upon by what is capable of being thought, or a process different from but analogous to that. The thinking part of the soul must therefore be, while impassable, capable of receiving the form of an object; that is, must be potentially identical in character with its object without being the object. Mind must be related to what is thinkable, as sense is to what is sensible.

If Trump was just a piddly-ass little hotel owner some place, having the kind of character and manners that he has, he would not be worth our notice. But because he's now been based to this huge stage, then his dimensions become immense. He's not a tragic figure because he doesn't have the capacity to be tragic. But the consequences of his life and his self now are immense; they're threatening to the world and to the sanctity of human life.

If we are the sum of everything that happens to us, to limit a person's experience is to limit their growth.

If we are to give our utmost effort and skill and enthusiasm, we must believe in ourselves, which means believing in our past and in our future, in our parents and in our children, in that particular blend of moral purpose and practical inventiveness which is the American character.

If we can implant in our people the Christian virtues which we sum up in the word character, and, at the same time, give them a knowledge of the line which should be drawn between voluntary action and governmental compulsion in a democracy, and of what can be accomplished within the stern laws of economics, we will enable them to retain their freedom, and at the same time, make them worthy to be free.

If we betake ourselves to the statistical method, we do so confessing that we are unable to follow the details of each individual case, and expecting that the effects of widespread causes, though very different in each individual, will produce an average result on the whole nation, from a study of which we may estimate the character and propensities of an imaginary being called the Mean Man.

If we do not make formation in Christ the priority, then we're just going to keep on producing Christians that are indistinguishable in their character from many non-Christians.

If we divine a discrepancy between a man's words and his character, the whole impression of him becomes broken and painful; he revolts the imagination by his lack of unity, and even the good in him is hardly accepted.

If we don't invest now in building character into children we will surely invest more tomorrow in trying to repair adults.

If we had any nerve at all, if we had any real balls as a society, or whatever you need, whatever quality you need, real character, we would make an effort to really address the wrongs in this society, righteously.

If we hear, in our inner ear, a voice saying we are failures, we are losers, we will never amount to anything, this is the voice of Satan trying to convince the bride that the groom does not love her. This is not the voice of God. God woos us with kindness. He changes out of character with the passion of his love.

If we must accept fate we are not less compelled to affirm liberty, the significance of the individual, the grandeur of duty, the power of character.

If we look back into history for the character of the present sects in Christianity, we shall find few that have not in their turns been persecutors, and complainers of persecution. The primitive Christians thought persecution extremely wrong in the Pagans, but practised it on one another.

If we need a true conception of the popular character to guide our sympathies rightly, we need it equally to check our theories, and direct us in their application.

If were were in a film, the villain would turn out to be the least-expected person. But as we aren't in a film, I'd go for the character who tried to strangle you.

If we show fictional characters doing cool stuff, then girls will want to be it in real life.

If we want our children to possess the traits of character we most admire, we need to teach them what those traits are and why they deserve both admiration and allegiance. Children must learn to identify the forms and content of those traits.

If we're lucky, writer and reader alike, we'll finish the last line or two of a short story and then just sit for a minute, quietly. Ideally, we'll ponder what we've just written or read; maybe our hearts or intellects will have been moved off the peg just a little from where they were before. Our body temperature will have gone up, or down, by a degree. Then, breathing evenly and steadily once more, we'll collect ourselves, writers and readers alike, get up, "created of warm blood and nerves" as a Chekhov character puts it, and go on to the next thing: Life. Always life.

If we were controlling the performance, we never would have had someone push a button to make the pellet stove come on during a climatic moment. And after the loud pellet stove moment, which is like a Todd Haynes's Safe interruption into the home and into the narrative - as if the home is a like a ghost surrounding the characters - her performance changes entirely.

If you are a programmer working in 2006 and you don’t know the basics of characters, character sets, encodings, and Unicode, and I catch you, I’m going to punish you by making you peel onions for six months in a submarine.

If you are being weird or silly you can be excused because you are just playing a character

If you are on a TV series and you have a hard time disassociating from that character when you get home, your love life is going to suffer, your children are going to suffer, your friends will suffer.

If you are lucky as an actor, you are doing a character that really matches where you are in life, or you're doing a character that is not where you are. If it's somewhere in between, you have to use a lot of imagination and a lot of thought.

If you are referring to the characters of The Room, each character has a different personality which you can see very clearly on the screen. If you are referring to the actors, they give me different emotions, personality which represents human behavior.

If you can control your behavior when everything around you is out of control, you can model for your children a valuable lesson in patience and understanding... and snatch an opportunity to shape character.

If you become very self-conscious about what you are doing, you kill. You kill the character. Then it doesn't work. You have to come from a sincere place. And you don't think too much. I don't go to the hotel and I start thinking what am I going to say tomorrow and start writing things down.

If you can get an audience to identify themselves with a character, they will subconsciously feel that their own lives are in danger. People tend to pay attention in situations like that. I think fear is the easiest, and most visceral, emotion to activate in an audience.

If you can make a character likable that's not very nice, that's the challenge of the job.

If you can tell stories, create characters, devise incidents, and have sincerity and passion, it doesn't matter a damn how you write.

If you change a character too much, the audience falls out of love with the character, but characters need to evolve and grow over the years.

If you care about [the characters] as if they were real, that always helps.

If you cared enough about your characters, what happened to them was interesting... it's important to care about them, about who they are and what they do...I don't really care whose side they are on, and they can be monstrous on the outside or, worse, on the inside, but you still have to want to spend time with them.

If you directly try to write about an idea, it will never be what you imagined. But if you're imagining through the building of sentences, through the characters, and paying attention to avoid ease and comfort yet still thinking about making the sentences work, you will get a shot at some real interesting stuff.

If you create a character, you create a destiny.

If you'd asked me then if I saw how big "The Steve Harvey Morning Show" was going to be, I couldn't tell you. But I knew I could reach people not as a character but as Steve Harvey, because although I tell jokes for a living, I've also lived, and I think I can relate to you more than you know.

If you do a scene and you really like a character in it or a premise in it to write it down and to work on it so that you can have five or six characters that you can pull out in an audition.

If you do not know the laws of right conduct, you cannot form your character.

If you don't drink coffee, I am suspicious of your character and will not invite you to my Italian lake home.

If you don't have obsessions, don't write. my characters are obsessed.

If you don't have enemies, you don't have character.